Chart Beat
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Luck Ra’s “La Morocha,” featuring BM, adds a fourth week at No. 1 on the Billboard Argentina Hot 100 chart (dated Oct. 14). The team-up ties with Bizarrap & Shakira’s Bzrp Music Sessions, Vol. 53 for the fifth-most weeks at the summit in 2023. Let’s look at the leaderboard:
Weeks at No. 1, Title, ArtistsSeven, “Los del Espacio” LIT killah, Maria Becerra, FMK, Rusherking, Duki, Emilia, Tiago PZK & Big OneSeven, “En La Intimidad,” Emilia, Big One, Callejero FinoSix, “Lala,” Myke TowersFive, “Un Finde: Big One CROSSOVER #2,” Ke Personajes, Big One, FMKFour, “Bzrp Music Sessions, Vol. 53,” Bizarrap & ShakiraFour, “La Morocha,” Luck Ra, featuring BM
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Emilia’s “GTA.Mp3” pushes up the tally, jumping 7-2, while Los Angeles Azules and Maria Becerra’s “El Amor de Mi Vida” dips 3-2. Meanwhile, Grupo Frontera and Ke Personajes’ “Ojitos Rojos” rises to its new No. 4 peak, and Big One, Ulises Bueno and Rusherking’s “Mentiras I Crossover #3”, enters the top 5, as it lifts 8-5.
This week’s Greatest Gainer goes to Spaniard Iñigo Quintero’s “Si No Estás” which rallies up 69 ranks, from No. 85 to No. 16.
Enrique Iglesias and Maria Becerra’s first partnership, “Así Es La Vida,” takes the Hot Shot Debut of the week, at No. 34.
Elsewhere, Bizarrap and Milo J each add a new career entry as “Bzrp Music Sessions Vol 57” bows at No. 35. With the new recruit, BIzarrap adds his 49th chart visit and enters a tie with J Balvin for the third-most entry on the tally, trailing only Bad Bunny’s 60 total appearances and Duki’s 56.
Further, singer-songwriter Jere Klein adds his second Billboard Argentina Hot 100 entry with “Ando” at No. 41.
Four other songs debut this week, starting with Trueno’s “Ohh Baby” at No. 75. Jung Kook and Jack Harlow’s “3D” follows at No. 79. Plus, Doble P, Lauty Gram and Gusty dj’s “Me Escapé” joins at No. 86. Lastly, Lauty Gram adds another entry through “Linda” (Remix),” his collab with Marka Akme, Migrantes, Peipper and DJ Tao join at No. 91.
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Maluma captures his 23rd No. 1 on Billboard’s Latin Airplay chart as “Coco Loco” rises 2-1 to crown the Oct. 14-dated list.
“Coco Loco” lands at the summit on the overall Latin Airplay chart in its 15th week. It ejects Karol G’s “Mi Ex Tenía Razón” from the lead after one week in charge with an 8% gain in audience impressions, to 10.1 million, earned in the U.S. during the Sept. 29-Oct. 5 tracking week, according to Luminate. The latter drops 1-6 with 8.7 million in audience, down 12%.
With his new champ, Maluma improves his career total to 23 No. 1s, and breaks from a tie with Bad Bunny and Wisin for the fifth-most No. 1s since the chart launched in 1994. Here’s a look at the leaders:
35, J Balvin33, Ozuna32, Enrique Iglesias28, Daddy Yankee23, Maluma22, Bad Bunny22, Wisin
“Coco Loco” also marks Maluma’s 10th No. 1 as a soloist, unaccompanied by any other act, among his 23 rulers. Let’s look at those solo winners:
Peak, Title, Weeks at No. 1Nov. 21, 2015, “Borro Cassette,” threeAug. 26, 2017, “Felices Los 4,” twoJune 2, 2018, “El Préstamo,” twoNov. 10, 2018, Mala Mia, oneJune 8, 2019, “HP,” oneNov. 23, 2019, “11:00 PM,” oneJuly 11, 2020, “ADMV,” oneNov. 6, 2021, “Sobrio,” oneOct. 15, 2022, “Junio,” oneOct. 14, 2023, “Coco Loco,” one
Elsewhere, “Coco Loco” holds at No. 1 on Latin Rhythm Airplay for a second week. Plus, it holds at No. 37 on the multi-metric Hot Latin Songs for a second week despite a 4% drop in streams.
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Gone is the typical start and stop of touring cycles. Releasing an album and going on tour every few years can make for a simple structure for a pop star career, but particularly in the post-pandemic era, artists are blurring multiple albums into one tour. Or, after postponing a tour for a couple years due to COVID, some are ending their originally scheduled treks and then jumping into a new one the following year.
But no one is doing it quite like P!nk: After wrapping 41 stadium dates on Monday, she’s hitting pause on Summer Carnival only to kick off an entirely separate arena tour on Thursday night (Oct. 12).
So far, according to figures reported to Billboard Boxscore, P!nk’s Summer Carnival has grossed $257.6 million and sold 1.8 million tickets across 41 shows. (P!nk will play a makeup date at Globe Life Field in Arlington, Texas, on Nov. 26 before the Summer Carnival resumes Feb. 9 in Sydney for a sweep of 20 shows in Australia and New Zealand.)
Summer Carnival began with 19 shows in Europe, bringing in $106.8 million from 871,000 tickets. The run was highlighted by two shows at London’s Hyde Park on June 24-25, earning $20.9 million and selling 130,000 tickets. Just behind The Rolling Stones’ $22.4 million, it’s the biggest gross by an American act or by a soloist in the venue’s storied history.
Just over the pond, P!nk flew Stateside for a $150.7 million run in the U.S. and Canada, selling 914,000 tickets. Boston and Philadelphia earned double-header status, claiming the North American leg’s tallest tallies. Two shows at Fenway Park (July 31-Aug. 1) grossed $13.6 million and sold 78,000 tickets, while two at Philly’s Citizens Bank Park topped out at $14.2 million and 93,000.
Not only were those the two biggest engagements on P!nk’s recent domestic run, they are the biggest continental engagements of her entire career. It’s not surprising, given this was her first stint in North American stadiums, after leveling up in Europe on the Beautiful Trauma World Tour in 2019.
The upcoming run in Oceania will be P!nk’s first try in stadiums over there, but one needn’t worry. On past tours, she’s stuck to arenas but played several shows in each city, sticking around for 18 nights in Melbourne on 2013’s The Truth About Love Tour. That equaled 235,000 tickets in the market, leaving more than enough room for multiple stadiums per city for the February-March leg.
But before we get there, P!nk has a 20-date arena trek. Consider Summer Carnival to be her grand reintroduction after a four-year gap since the Beautiful Trauma World Tour, while the impending start of the Trustfall Tour acts as the true celebration of its namesake album, released in February. Kicking off Thursday night in Sacramento and wrapping Nov. 19 in Orlando, it’s expected to earn more than $70 million and sell more than 300,000 tickets, according to promoter Live Nation.
Within 12 months, P!nk will have played three legs of Summer Carnival, all while squeezing in an entirely separate tour with the Trustfall shows. It’s likely to be the biggest year of her touring career, exceeding the $397.3 million from the Beautiful Trauma World Tour in 2018-19. When that wrapped, it was one of the 10 highest-grossing tours in Boxscore history. Edged out by recent runs by Elton John, Harry Styles and others, P!nk’s all-time stature continues to rise, as her career gross climbs to $973.6 million and total attendance just under 9 million. When it’s all said and done, Billboard projects she’ll be the newest member of two elite Boxscore clubs, blowing past $1 billion and 10 million tickets.
The No. 1 song on Billboard’s Top TV Songs chart, powered by Tunefind, for September 2023 is fitting: it’s “September,” by Earth, Wind & Fire.
Rankings for the Top TV Songs chart are based on song and show data provided by Tunefind and ranked using a formula blending that data with sales and streaming information tracked by Luminate during the corresponding period of September 2023.
“September” sported a synch in the latest season of Netflix’s Virgin River. The entire fifth season premiered Sept. 7, and the Earth, Wind & Fire classic was heard in the third episode.
In all, “September” received 19 million official on-demand U.S. streams and 8,000 downloads in September 2023, according to Luminate. Some of its metrics are also due to annual gains for the song (No. 8 on the Billboard Hot 100 in February 1979) each September around Sept. 21, corresponding with the track’s opening lyric.
Virgin River boasts three entries on Top TV Songs this month, with fellow third episode song “In the Shadows,” by Amy Stroup, bowing at No. 3, while Lily Allen’s cover of Keane’s “Somewhere Only We Know,” heard in episode 10, appears at No. 8.
The top non-Virgin River entry, meanwhile, belongs to Gerry Rafferty’s “Baker Street,” which ranks at No. 2. Rafferty’s top-charting song on the Hot 100 (No. 2, June 1978), it appears in the second episode (Sept. 29) of new show The Continental, from Peacock, which is a newly released spinoff of the John Wick franchise.
Thanks to its The Continental synch, “Baker Street” earned 2.9 million streams and 1,000 downloads in September 2023.
Like Virgin River, The Continental also has three tracks on the latest Top TV Songs tally, with “Baker Street” followed by ZZ Top’s “La Grange” at No. 5 and Tommy James and the Shondells’ “Crimson and Clover” at No. 10.
Back to Earth, Wind & Fire: the group charts two songs on two different shows in September, as “Let’s Groove,” which appears at No. 6, was heard in HBO’s Winning Time: The Rise of the Lakers Dynasty.
See the full top 10, also featuring music from Wilderness and The Walking Dead: Daryl Dixon, below.
Rank, Song, Artist, Series (Network)1. “September,” Earth, Wind & Fire, Virgin River (Netflix)2. “Baker Street,” Gerry Rafferty, The Continental (Peacock)3. “In the Shadows,” Amy Stroup, Virgin River (Netflix)4. “Gold,” Kiiara, Wilderness (Amazon Prime Video)5. “La Grange,” ZZ Top, The Continental (Peacock)6. “Let’s Groove,” Earth, Wind & Fire, Winning Time: The Rise of the Lakers Dynasty (HBO)7. “Blue Monday,” New Order, The Walking Dead: Daryl Dixon (AMC)8. “Somewhere Only We Know,” Lily Allen, Virgin River (Netflix)9. “Sacrilege,” Yeah Yeah Yeahs, Wilderness (Amazon Prime Video)10. “Crimson and Clover,” Tommy James and the Shondells, The Continental (Peacock)
Ado’s “Show” logs its third week at No. 1 on the Billboard Japan Hot 100, dated Oct. 11, continuing to improve in various metrics in a balanced way.
On the chart tallying the week ending Oct. 8, the Halloween event theme for Universal Studios Japan holds at No. 2 for downloads for the second week with 16,486 units, increasing by 0.9 percent from the week before. The track also continues to rule streaming for the third week in a row with 14,258,058 weekly streams, also an 0.9 percent increase. In other metrics of the chart’s methodology, “Show” rises 2-1 for video views and comes in at No. 7 for radio and No. 48 for karaoke.
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YOASOBI dominate the next two slots this week, with the hit-making duo’s latest track “The Brave” rising 9-2 and former No. 1 hit “Idol” holding at No. 3. The former, the opener for the high fantasy anime Frieren, continues to rule downloads with 21,267 units. Streaming for the track soared by about three times the previous week to hit 8,139,175 streams, leaping 49-4 for the metric. The music video has currently racked up over 9 million views to rise 7-4 for video, and the song also soars 51-5 for radio.
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The latter, the 21-week record-holder for longest stay at No. 1 on the Japan Hot 100, is currently at No. 3 for streaming, No. 10 for downloads, No. 3 for video, No. 46 for radio, and logs its 20th week at No. 1 for karaoke.
NMB48‘s “Nagisa Saiko!” debuts at No. 5 this week. The girl group’s 28th single sold 262,542 copies in the first week — 67,657 more copies than its predecessor, “Sukidamushi” to rule physical sales. It’s a fitting send-off to popular member Nagisa Shibuya, who will be leaving the group after being featured in center position for the last time.
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Two tracks by BTS’s Jung Kook charts in the top 10 this week. His collaboration with Jack Harlow, “3D,” debuted on the Japan Hot 100 on the chart dated Oct. 4 at No. 17 after the single dropped Sept. 29, and climbs to No. 7 this week. The track is at No. 9 for downloads, No. 12 for streaming, No. 20 for radio, and No. 8 for video. His hit collab with Latto, “Seven,” is at No. 10 this week on its 13th week on the chart, coming in at No. 7 for streaming with 6,337,765 weekly streams, maintaining a higher count than “3D,” which logged 4,955,275 streams this week.
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Three-man band shy taupe reached a new career-high on the Japan Hot 100, with “Rendez-vous” breaking into the top 10 at No. 8. This song bowed on the chart dated Aug. 23 at No. 66, then made its way to No. 14 two weeks later. It spent the next five weeks in the top 20 and hit its current position this week. The track is powered by streaming, which increased by about 0.9 percent from the previous week at 7,235,586 weekly streams, coming in No. 6. It’s still rising in other metrics, with downloads moving 67-54, video 50-33, and karaoke 56-52 on its 10th week on the chart.
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 Oct. 2 to 8, here. For more on Japanese music and charts, visit Billboard Japan’s English Twitter account.
Feid captures his second top 10 on Billboard’s Top Latin Albums chart — and highest charting release yet — with his latest set Mor, No Le Temas a La Oscuridad, which debuts at No. 4 on the Oct. 14-dated survey.
Mor, No Le Temas a La Oscuridad launches with 20,000 equivalent album units earned in the U.S. during the Sept. 29-Oct. 5 tracking week, according to Luminate. It’s the biggest opening week in terms of units among Feid’s six career entries on the overall albums ranking.
On Top Latin Albums, an equivalent album unit equals one album sale, or 10 individual tracks sold from an album (track equivalent album units, TEA), or 3,750 ad-supported or 1,250 paid/subscription on-demand official audio and video streams generated by songs from an album (streaming equivalent album units, SEA).
Streaming powers most of the album’s activity, with 15,000 of the first week from the consumption method. That figure equals to 20.1 million official U.S. on-demand streams for the album’s songs in its opening week. Traditional albums sales, meanwhile, account for 5,000 units, while a negligible amount derives from track-equivalent unit.
Mor, No Le Temas gives Feid, whose off-stage name is Salomón Villada Hoyos, his second top 10 on Top Latin Albums. The album was released Sept. 28 via Universal Music Latino/UMLE. Previously, Feliz Cumpleaños Ferxxo: Te Pirateamos El Album peaked at No. 6 in Oct. 2022. The set held in the top 10 for 12 weeks. In between, Sixdo (EP) debuted and peaked at No. 32 last December.
Feid also nabs his highest charting album on the all-genre Billboard 200, as Mor debuts at No. 31. Plus, the album arrives at No. 3 on Latin Rhythm Albums, likewise his highest charting album there.
Mor was previewed by two songs: Feid’s first collab with Sean Paul, “Niña Bonita,” which peaked at No. 41 on the multi-metric Hot Latin Songs chart, and “Bubalu,” with Rema, that rises 39-32. Further, “Luces de Tecno” debuts at No. 40 on the current tally.
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U2 pads its record for the most entries on Billboard’s Alternative Airplay and Mainstream Rock Airplay charts as “Atomic City” debuts on multiple tallies dated Oct. 14.
The song premieres at No. 27 on Alternative Airplay. It’s the Bono-led band’s 43rd chart appearance, extending its mark for the most visits to the ranking, which began in 1988.
Foo Fighters and Pearl Jam are the next-closest acts, earning 40 entries each.
Most Appearances, Alternative Airplay:
43, U2
40, Foo Fighters
40, Pearl Jam
37, Red Hot Chili Peppers
36, Green Day
34, Weezer
30, Coldplay
30, Linkin Park
29, The Offspring
27, The Smashing Pumpkins
U2’s Alternative Airplay chart run began on the Sept. 17, 1988, survey – the list’s second week of existence – when “Jesus Christ” debuted at No. 11. With entries now in the 1980s, ‘90s, 2000s, ‘10s and ‘20s, the band matches Depeche Mode and Red Hot Chili Peppers as the only acts with appearances in each decade of the list’s archives.
Of U2’s 43 appearances, 23 have reached the top 10 and eight have gone No. 1, beginning with the five-week ruler “Desire” in October 1988. The band last led the chart with “Vertigo” (four weeks, November 2004) and most recently hit the top 10 with “Get On Your Boots” (No. 5, February 2009).
On Mainstream Rock Airplay, “Atomic City” debuts at No. 38, the quartet’s record-extending 51st appearance. Tom Petty, solo and with the Heartbreakers, is next with 48.
Most Appearances, Mainstream Rock Airplay:
51, U2
48, Tom Petty (solo and with the Heartbreakers)
47, Van Halen
46, John Mellencamp
45, Pearl Jam
44, Aerosmith
43, Metallica
42, Rush
42, Bruce Springsteen (solo and with the E Street Band)
U2 gains entrance to a select club of acts that have appeared on Mainstream Rock Airplay every decade of its existence, since it began in 1981, joining AC/DC, Guns N’ Roses, Motley Crue, Ozzy Osbourne, Red Hot Chili Peppers and The Rolling Stones.
As with Alternative Airplay, U2 was on Mainstream Rock Airplay during the ranking’s inaugural year (starting in the tally’s fifth week), peaking at No. 20 with “I Will Follow” in April 1981. The act boasts 21 top 10s and seven No. 1s, last leading with “Hold Me, Thrill Me, Kiss Me, Kill Me” in August 1995 and last hitting the top 10 with “Vertigo” in November 2004.
But unlike Alternative Airplay, where U2 had gone just under six years between appearances (“You’re the Best Thing About Me” peaked at No. 21 in October 2017), the band until this week had not made Mainstream Rock Airplay since “Invisible” debuted and peaked at No. 27 in early 2014.
“Atomic City” also premieres at No. 17 on Adult Alternative Airplay, U2’s 32nd entry since the ranking began in 1996, behind only Dave Matthews (solo and with Dave Matthews Band) with 36 entries.
Most Appearances, Adult Alternative Airplay:
36, Dave Matthews (solo and with Dave Matthews Band)
32, U2
29, Coldplay
27, Jack Johnson
25, Sheryl Crow
25, John Mayer
19, Beck
18, Death Cab for Cutie
18, R.E.M.
First ranking on Adult Alternative Airplay in 1997 with “Discotheque” (No. 7, February 1997), U2 has notched 13 No. 1s, most recently the seven-week leader “You’re the Best Thing About Me” beginning in November 2014. Prior to “Atomic City,” U2 last appeared with the No. 34-peaking “Your Song Saved My Life” in January 2022.
“Atomic City” bows at No. 5 on the all-rock-format, audience-based Rock & Alternative Airplay chart, U2’s highest rank dating to the tally’s 2009 inception. It earned 3.7 million radio audience impressions Sept. 29-Oct. 5, according to Luminate.
U2’s previous best on Rock & Alternative Airplay had been a pair of No. 12 peaks in “Invisible” and “The Miracle (of Joey Ramone),” both in 2014.
The combination of airplay, streams and sales in its first week allows “Atomic City” to debut at No. 38 on the multi-metric Hot Rock & Alternative Songs chart. In addition to its radio airplay, the song earned 1.1 million official U.S. streams and sold 3,000 downloads, the latter count good for a No. 1 debut on Alternative Digital Song Sales – U2’s first ruler dating to the chart’s 2011 debut. (U2 first led a Billboard list when “With or Without You” rose to No. 1 on Mainstream Rock Airplay in April 1987.)
“Atomic City” is currently a stand-alone single for U2, which last released a full-length of new material in 2017 with Songs of Experience. Most recently, Songs of Surrender was released this March and features re-recordings of the band’s catalog.
Mitski takes over as the latest No. 1 on the TikTok Billboard Top 50 with “My Love Mine All Mine,” which vaults 5-1 on the Oct. 14-dated ranking.
The TikTok Billboard Top 50, which began four weeks ago, 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 Oct. 2-8. Activity on TikTok is not included in Billboard charts except for the TikTok Billboard Top 50.
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“My Love Mine All Mine” initially debuted on the Sept. 30-dated TikTok Billboard Top 50 at No. 34, followed by a leap to No. 5 Oct. 7 prior to its coronation. It becomes the first song in the chart’s five-week history to rise to No. 1 rather than debuting there.
The song was released as part of Mitski’s new album The Land Is Inhospitable and So Are We, which premiered Sept. 15 and debuted at No. 2 on Billboard’s Top Alternative Albums survey dated Sept. 30. The singer born Mitsuki Laycock has had a handful of successful songs on TikTok previously, including “Washing Machine Heart,” “Nobody” and more, preceding the runaway success of “My Love Mine All Mine” more recently.
There isn’t a specific throughline using the song just yet; rather, currently users are uploading clips featuring the tune to soundtrack their lives, emotional moments, referencing romance and more.
Concurrently, “My Love Mine All Mine” jumps to a new peak of No. 49 on the Billboard Hot 100, becoming Mitski’s first top 50-charting song. It earned 8.4 million official U.S. streams in the Hot 100’s Sept. 29-Oct. 5 tracking period, a 28% boost, according to Luminate.
The track is the first No. 1 since the TikTok Billboard Top 50’s inception that isn’t a hip-hop song, following previous rulers “SkeeYee” by Sexyy Red, “Wassup Gwayy” by FamousSally and YB and “Sky” by Playboi Carti.
Mitski reigns on the TikTok Billboard Top 50 over Doja Cat’s “Paint the Town Red,” which remains at No. 2. As noted last week, though the song – currently No. 1 on the Hot 100 – has not yet crowned the TikTok Billboard Top 50, it also hasn’t dropped below No. 3 in the tally’s five weeks.
SUICIDAL-IDOL’s “Ecstasy” reaches a new peak, jumping into the top 10 for the first time at No. 3. Billed as the “slowed” version on the chart (there are four versions in all right now, also including the original, super slowed and a remix), “Ecstasy” debuted at No. 11 on Oct. 7 and sported 3.6 million official U.S. streams toward the Billboard charts Sept. 29-Oct. 5, a jump of 14%.
The previous No. 1, Playboi Carti’s “Sky,” drops to No. 4, while Girl in Red’s “We Fell in Love in October” rounds out the top five. The latter has become a perennial riser on TikTok each October, securing gains that brought it onto Billboard’s Alternative Streaming Songs chart last October (No. 22, Oct. 15, 2022) and already this month (No. 19, Oct. 14). Many of the latest uploads using the song, which was originally released in 2018, feature users posting themselves doing various fall activities or enjoying the cooling weather.
See the full TikTok Billboard Top 50 here, including debuts from Summer Walker, Lukas Graham and more. 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.
Usher lands in the top 10 of Billboard’s Hot R&B/Hip-Hop Songs chart for the first time in seven years as “Good Good” with Summer Walker and 21 Savage advances 11-7 on the list dated Oct. 14. The ascent comes from the song’s sales gains and increased radio reach as it captures or nears the summit of multiple airplay charts.
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In the latest tracking week (Sept. 29 – Oct. 5), “Good Good” generated 5.4 million official U.S. streams, according to Luminate, a 1% increase from the prior week, and 2,000 sales downloads (up 45%) that spark a 5-3 push for a new peak on the R&B/Hip-Hop Digital Song Sales chart. For radio airplay, “Good Good” registered 38.7 million total audience impressions, a 9% improvement from the previous frame.
Diving further into the radio ranks, “Good Good” wins a second week at No. 1 on the Mainstream R&B/Hip-Hop Airplay chart as the most heard song on U.S. monitored R&B/hip-hop radio stations, despite a 2% drop for the week in plays. It also cracks the top 10 on Adult R&B Airplay (11-9) through a 16% surge in weekly plays and repeats at its No. 2 high on R&B/Hip-Hop Airplay, which ranks songs by combined audience listenership on the adult R&B and mainstream R&B/hip-hop formats. There, “Good Good” climbed 2% in weekly impressions to 20.3 million at the format.
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With “Good Good,” Usher achieves his 29th career top 10 on Hot R&B/Hip-Hop Songs and first since “No Limit” featuring Young Thug in 2016. Here’s a full rundown of his top 10 collection:
Song Title, Artist (if other than Usher), Peak Position, Peak Date
“Think of You,” No. 8, April 29, 1995
“You Make Me Wanna…,” No. 1 (11 weeks), Sept. 6, 1997
“Nice & Slow,” No. 1 (eight), Jan. 24, 1998
“My Way,” No. 4, July 4, 1998
“U Remind Me,” No. 1 (four), July 7, 2001
“U Got It Bad,” No. 1 (seven), Nov. 17, 2001
“U Don’t Have to Call,” No. 2, March 23, 2002
“I Need a Girl (Part One),” No. 2, May 25, 2002
“Yeah!,” featuring Lil Jon & Ludacris, No. 1 (eight), March 6, 2004
“Burn,” No. 1 (four), June 5, 2004
“Confessions Part II,” No. 1 (two), July 10, 2004
“My Boo,” with Alicia Keys, No. 1 (three), Oct. 23, 2004
“Lovers & Friends,” Lil Jon & The East Side Boyz featuring Usher & Ludacris, No. 2, Jan. 22, 2005
“Same Girl,” with R. Kelly, No. 4, July 28, 2007
“Love in This Club,” featuring Young Jeezy, No. 1 (four), April 12, 2008
“Love in This Club Part II,” featuring Beyoncé & Lil Wayne, No. 7, June 21, 2008
“Trading Places,” No. 4, Jan. 3, 2009
“Papers,” No. 1 (two), Dec. 12, 2009
“Hey Daddy (Daddy’s Home),” featuring Plies, No. 2, April 10, 2010
“Lil Freak,” featuring Nicki Minaj, No. 8, May 1, 2010
“There Goes My Baby,” No. 1 (four), Aug. 14, 2010
“OMG,” featuring will.i.am, No. 3, June 26, 2010
“Hot Tottie,” featuring Jay-Z, No. 9, Oct. 23, 2010
“Climax,” No. 1 (11), April 28, 2012
“Lemme See,” featuring Rick Ross, No. 2, Aug. 4, 2012
“New Flame,” Chris Brown featuring Usher & Rick Ross, No. 6, Oct. 4, 2014
“I Don’t Mind,” featuring Juicy J, No. 1 (one), Feb. 14, 2015
“No Limit,” featuring Young Thug, No. 9, Oct. 8, 2016
“Good Good,” with Summer Walker & 21 Savage, No. 7, Oct. 14, 2023
Summer Walker nabs her fourth Hot R&B/Hip-Hop Songs top 10, after 2019’s “Playing Games” (No. 9) and 2021’s “No Love” with SZA (No. 5) and “Bitter” with Cardi B (No. 9). 21 Savage, meanwhile, secures his 30th top 10, and fourth this year.
Elsewhere, “Good Good” rises 4-3 on the Hot R&B Songs chart and jumps 36-28 on the all-genre Billboard Hot 100. The single will appear on Usher’s next album, Coming Home, which will be released on Feb. 11, the same day that the superstar will headline the halftime show of Super Bowl LVIII in Las Vegas.
Becky G debuts at No. 3 on Billboard’s Regional Mexican Albums chart (dated Sept. 14) with Esquinas. The Edgar Barrera-produced album is Becky G’s first entry on the Regional Mexican Albums tally, after notching previous entries on Billboard‘s Latin Pop Albums and Latin Rhythm Albums rankings. The new set concurrently debuts at No. 7 on the overall Top Latin Albums chart.
Esquinas was released Sept. 28 via Kemosabe/RCA and launches at No. 3 on Regional Mexican Albums with 11,000 equivalent album units earned in the tracking week ending Oct. 5 in the U.S., according to Luminate. Streaming powers nearly all the album’s first week, with 10,000 of them from the consumption method. That equals to 14.1 million official on-demand streams for the album’s songs.
Esquinas is Becky G’s third full-length album and first appearance on Regional Mexican Albums. The 13-track set’s title, which translates to “corners,” references the intersection between her American style with her Mexican roots. It includes collabs by Peso Pluma, Ivan Cornejo, Gabito Ballesteros, Yahritza y Su Esencia, Chiquis and DannyLux. The album’s cover art was revealed through Becky G’s Instagram account on Sept. 12: “I could not be more excited to share the cover of my new album Esquinas…” she posted, with a baby photo of herself on braids, a sombrero, and a red bandana covering her chest.
Esquinas finds the 26-year-old artist at a crossroads of two cultures, a sketch which shows throughout her Billboard chart career spanning over a decade. The album also gifts Becky G with two top 10 albums after the rhythmic Mala Santa (No. 3 high on Top Latin Albums and Latin Rhythm Albums, 2019) which included team-ups with Bad Bunny, Sech, Natti Natasha, and others, while the pop-filled Esquemas (eight-week champ on Latin Pop Albums, 2022) added partnerships with Karol G, El Alfa and Guaynaa.
As mentioned, Esquinas also bows at No. 7 on Top Latin Albums, after Esquemas debuted and reached No. 5 high in May 2022. Meanwhile, it earns her third chart appearance on the overall Billboard 200, at No. 109.
As Esquinas lands, two songs debut across Latin charts: “2do Chance,” with Ivan Cornejo, one of two pop songs on the album, launches at No. 34 on the multimetric Hot Latin Songs tally, fueled by streaming activity; it logged 2.7 million U.S. clicks during the same tracking week. Meanwhile, “Por El Contrario,” with siblings Leonardo Aguilar and Angela Aguilar, debuts at No. 19 on Latin Digital Songs.