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Ariana Grande is back: After three years of relative quiet (outside of a chart-topping Weeknd collab here or there), the pop superstar returned earlier this month with the lead single from her upcoming Eternal Sunshine album, “Yes, And?”
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The house-flavored new song, offered largely in response to gossip about her personal life and body image in the intervening years, debuts at No. 1 on the Billboard Hot 100 this week, edging past Jack Harlow’s reigning champ “Lovin on Me.” The song was helped over the top by a variety of remixes and edits, which assisted the song’s 2024-best sales debut (53,000).
What does Grande’s new song portend about her new era? And will the song stick around for a long time to come? Billboard staffers discuss these questions and more below.
1. “Yes, And?” debuts atop the Billboard Hot 100, albeit in a closer race with second-place-finisher “Lovin on Me” than some might have expected. Do you expect the song to be a long-lasting top pop hit, or more of a quick re-introduction of Grande’s new era before the rest of the Eternal Sunshine rollout?
Rania Aniftos: Grande’s standout hits from her albums are rarely the lead single, and I think that will probably be the case with Eternal Sunshine as well. I’m hoping for a less controversial track that actually represents the growth that Ari sees in herself over the next few weeks, and I hope that’s the one that stands the test of time!
Kyle Denis: I think this is definitely more of a quick re-introduction of Grande to the pop music scene. Rumors are already swirling about a new single arriving as early as next month, so I’d imagine we get at least one more taste of the album before March 8. With that being said, I also don’t think “Yes, And?” will freefall down the Hot 100. I doubt it spends multiple weeks at No. 1, but once it hits its stride on radio, it should end up being a solid hit that likely follows a similar chart run to her own “No Tears Left to Cry.”
Joe Lynch: I don’t see it being an ongoing threat for the No. 1 spot in the way that “Thank U, Next” and “7 Rings” dominated, but when it comes to Ari’s Hot 100-toppers, even a song like the Justin Bieber collab “Stuck With U” – probably her least beloved single to top the Hot 100 – remained on that chart for 18 weeks. She has an amazing voice that’s well-suited to the current radio landscape and she streams well, so I expect it to stick around… but would be surprised to see it at No. 1 for more than 2 weeks in total.
Meghan Mahar: I think that “Yes, And?” has the potential to become a more dominant No. 1 over “Lovin on Me,” but it ultimately serves as a safe introduction to her Eternal Sunshine era. Historically, dance and dance-adjacent hits have performed well for Grande — but I feel that this was an opportune time to release a song like “Yes, And?” that is lighthearted and club-friendly. There has been a clear demand for these songs, as we’ve seen with the success of releases including David Guetta and Bebe Rexha’s “I’m Good (Blue),” Troye Sivan’s “Rush,” and Dua Lipa’s “Houdini.”
Andrew Unterberger: It seems likely to me to follow a “Vampire”-type trajectory: Just the one week on top, but at least a handful in the top 10, and a long run in the top 40 as radio picks up on it. Not an era-defining smash, but big enough to re-announce Grande’s presence with authority as needed.
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2. It’s already been over three years since the release of her most recent album, 2020’s Positions. Do you think Grande’s returning to pop music in 2024 in stronger, weaker or about the same standing as when she left?
Rania Aniftos: It’s a tough question, because while musically, she’s returning to pop in an equally powerful place as she left it, her public image has been a bit compromised over the past year due to headlines surrounding her relationship. I’ve already been seeing fan reactions to the song, expressing disappointment at the sentiment despite liking how catchy the track is — with longtime supporters feeling uncomfortable giving her streams and listening to the song. If she can gracefully navigate the personal aspects of her public perception, I think she’s geared up to create a Thank U, Next-like splash with her upcoming album.
Kyle Denis: Stronger. Although the split opinions regarding her romantic life are incredibly loud on the Internet, Grande is returning to the scene as an elder stateswoman of sorts. Last year, she celebrated the ten-year anniversary of her pop recording career, she has a blockbuster film (Wicked: Part One) on the horizon, and she already had five No. 1 hits this decade before “Yes, And?” was announced. You’d be hard-pressed to find a post-Grande pop star who can match her string of quality hit singles over the past decade – and that’s why her absence was so deeply felt. Just five years ago, Grande’s name was among the list of stars who had countless hits and no Hot 100 chart-toppers. Now, she’s expected to debut at No. 1 practically every time she releases music. If that doesn’t make it clear how much her position in pop’s hierarchy has changed, I don’t know what would!
Joe Lynch: Pop is such a youth-oriented (youth-obsessed, really) market that it’s hard to pretend like four years is nothing — and yet, did she really go away? Ten months ago, she topped the Hot 100 with the Weeknd duet “Die For You,” and her modern seasonal staple (“Santa Tell Me”) reached an all-time peak this month. It might be a new era, but don’t call it a comeback. Within a couple percentage points for error, I would say she’s as strong as when Positions dropped.
Meghan Mahar: Stronger. Headlines about Grande in the time since Positions, whether they were about her relationships or teasers of her work on Wicked, kept her in the news cycle and fueled interest in her next project. What truly gives her a competitive edge, though, is the public’s need for a pop superstar. Many have released successful projects and grown to great heights over the past few years, but none have Grande’s artistic vision and vocal capabilities.
Andrew Unterberger: Maybe a little stronger. It’s hard to remember the last time a pop star was as palpably missed in the top 40 world as Ariana has been in her relative absence — if the popularity of Tate McRae’s “Greedy” and Sabrina Carpenter’s “Nonsense” year were any indication, fans were practically champing at the bit for Grande-sized radio singles. Maybe some fans have turned on her, but as Doja Cat has proven multiple times this decade, hits solve just about everything — and Grande has never been in short supply of those.
3. “Yes, And?” adopts a fairly house-forward sound for Grande, resulting in her first-ever No. 1 on the Dance/Electronic Songs Chart. Do you think that foreshadows a full pivot to dance with Eternal Sunshine — and do you hope it does?
Rania Aniftos: I do! It’s a fun pivot for an artist who has been around for more than a decade at this point. It keeps things fresh, not only for her but also for her fans, and it plays on the nostalgia trend in music lately due to its 80s sound. With a name like Eternal Sunshine, she has to have some fun on this album, right?
Kyle Denis: No. In the same way that “Dangerous Woman” didn’t foreshadow an album of theatrical pop bangers and “No Tears” didn’t preview an LP filled with U.K. garage-inflected anthems, I don’t think “Yes, And?” is signaling a full dance pivot. Not to mention, Grande has dabbled with this sound before (2016’s “Be Alright”), so it isn’t exactly new for her. I think Eternal Sunshine will blend the best of her capabilities across pop and R&B like each of her last six efforts. Even though I’m not necessarily hoping for Eternal Sunshine to be a full dance record, I’ll gladly embrace it should that end up being the case.
Joe Lynch: Dance Ariana has always been one of my favorite Arianas (“Break Free” is GOAT) but the house-forward sound did surprise me a bit, simply because two major artists (Beyoncé and Drake) boosted that sound back to the wider public in 2022. I’m never angry at hearing house music, but it does seem like she’s following a trend on this one. So while I’d celebrate a dance LP, I’m hoping there are some sonic surprises afoot that push pop forward.
Meghan Mahar: As much as I would personally love a full dance record, I don’t think that’s going to happen. Grande has had several dance and dance-adjacent tracks in the past: “Break Free” with Zedd (2014) and “Into You” (2016) came to mind when I heard “Yes, And?” and both came from albums with a solid range of sounds. The success of “Rain on Me” with Lady Gaga (another No. 1 debut) was likely a factor that informed the release of this song. I feel that “Yes, And?” foreshadows Grande referencing her past sounds and eras, but from a more mature place in her life.
Andrew Unterberger: It’s hard for me to see Grande going full club energy for a full album. Not that she couldn’t pull it off, but her truest sweet spot to me is still in the cozy confines of a soul-pop ballad or midtempo number, and I don’t think she’d want to limit herself strictly to the upper BPM ranges for all of Eternal Sunshine. I’m betting this song basically serves for its parent album as “No Tears Left to Cry” did for Sweetener: a blast to kick off her new era, which ultimately proves to forecast only a small bit of what the rest of the album has to offer.
4. The chart-topping debut for “Yes, And?” gives Max Martin his 24th No. 1 as a producer, moving him into sole possession of the all-time record. Do you think anyone will pass his mark anytime soon?
Rania Aniftos: Unless Mariah Carey enters a production-focused era of her career, I really doubt it. He’s dominating by a landslide among producers who are alive.
Kyle Denis: I think this record is Max Martin’s to keep for a long while. Should Dr. Luke continue to find work despite his public fall from grace, it’s possible he will catch up to him. Nonetheless, I don’t think the producer who passes Max’s mark has gotten their start yet.
Joe Lynch: Well, I don’t think his runner-up (George Martin) is going to prove much competition in the 2020s, but Dr. Luke – who has produced or co-produced 18 No. 1s – could narrow the gap in the upcoming years. Even so, I think it’s pretty unlikely that anyone that he, or anyone, will take the lead from Max in the next five to 10 years.
Meghan Mahar: No— the first runner up, Dr. Luke, is 6 songs behind Martin’s 24 No. 1 record and Martin is not showing any signs of slowing down. In recent times, it seems as if Dr. Luke has been working with a wider variety of artists, whereas Martin has committed more time to projects with a smaller roster. Martin’s strategy has paid off and aligned him with superstars and some of their best projects, like Taylor Swift’s 1989 (2014) and The Weeknd’s Dawn FM (2022). Securing this level of prestige takes a career lifetime to achieve.
Andrew Unterberger: It’s Martin’s to lose. You could look at someone like Jack Antonoff and think “Well, if he stays as Taylor Swift’s go-to guy for the rest of the decade, could that alone be enough to get him there?” But as ubiquitous as Antonoff has seemed for nearly a decade now, he still only has five No. 1s to his name — which means he’d need about three a year from now until 2030 to beat Martin’s current total. Not impossible, but the head start that Martin has amassed in his near-30-year career — and he ain’t done yet — is not a gap that anyone will be able to bridge without putting in decades of their own high-level work. And probably not then, either.
5. What’s one thing not really covered by “Yes, And?” that you’d like to hear or see from Ariana Grande on this new album and its accompanying promotional cycle?
Rania Aniftos: I don’t know if this necessarily answers the question, but I love how involved Jim Carrey was on The Weeknd’s Dawn FM, and since Eternal Sunshine got its name from Carrey’s 2004 film, it only makes sense for him to be on the album in some capacity.
Kyle Denis: While “Yes, And?” is a great encapsulation of IDGAF energy, I’d like to hear more about what’s been going through Grande’s head ever since Positions. What has it been like filming your dream role (Glinda in Wicked)? How have you dealt with all the internal and external pressures that come with such an endeavor? In the past few years, it’s clear Grande has done a lot of growing up. From her wardrobe and general demeanor to her overall aesthetic and relationship with social media, she’s clearly matured a lot. And, of course, she went through a divorce in the public eye while juggling her music and acting careers; I’d love to see her dig into those concepts and emotions on Eternal Sunshine, which, judging by the title’s allusion to Eternal Sunshine of the Spotless Mind, she just might do.
From a purely musical standpoint, I think I’m most intrigued to hear how Wicked has impacted her approach to singing and songwriting. Could another “Jason’s Song” be on the way? I certainly hope so!
Joe Lynch: I’m not saying I want to hear a dance remix of “Popular” on her album, but with the Wicked adaptations occupying so much of her recent time, I’m champing at the bit to see Grande in full-on theater kid mode as she hits the late-night promo cycle. (Shout-out to her performance in 2016’s Hairspray Live!) Do theater kids run the risk of being a bit irritating? Of course. But she’s practically a national icon. Let her hit.
Meghan Mahar: I love how Grande has showcased her versatility across her discography, but my favorite songs are the R&B selects and ballads. Her vocal range emphasizes the passion behind her lyrics, whether they be about being deeply in love (“pov”) or in deep pain (“ghostin”). “Yes, And?” is such a fun, carefree track — and I love this! It makes me want to dance with my friends in the club — but I also love a good cry. Her musical vulnerability, paired with behind-the-scenes content or stunning visuals (like the “pov” Vevo performance) in the promo cycle, would further cement her range.
Andrew Unterberger: Ariana Grande has spent most of her career making pop for the bedroom — would she ever consider going full bedroom pop? Would love to hear working with Girl in Red. A Laufey duet could be dope. And how the hell have she and Billie Eilish (an avowed longtime Grande fan) still never worked together?
Among recording artists, The Beatles boast the most No. 1 singles in the Billboard Hot 100’s history: Mariah Carey ranks second, and paces all soloists, with 19 leaders.
Who has the most No. 1s among songwriters and producers?
Paul McCartney, with 32, and John Lennon (26), of The Beatles, rank first and second, respectively, for having written the most Hot 100 No. 1s, thanks to their respective group and solo outputs – with Max Martin now tied with Lennon for second place, from Britney Spears’ “…Baby One More Time” in 1999 through, most recently, Ariana Grande’s “Yes, And?”
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Max Martin, meanwhile, has passed George Martin for the most Hot 100 No. 1s among producers, 24. As with his writing history, the former’s No. 1 run as a producer stretches from “…Baby One More Time” through “Yes, And?” The latter, notably, produced 19 of The Beatles’ 20 No. 1s. The lone Fab Four No. 1 that he didn’t produce? Their last, 1970’s “The Long and Winding Road,” on which Phil Spector took the reins. His other four leaders as a producer: America’s “Sister Golden Hair” (1975), McCartney and Stevie Wonder’s “Ebony and Ivory” (1982), McCartney and Michael Jackson’s “Say, Say, Say” (1983-84) and Elton John’s “Candle in the Wind 1997” (1997-98).
Here is an updated look at the songwriters and producers with the most Hot 100 No. 1s all-time, through the chart dated Jan. 27, 2024 (compiled via Billboard charts department research and Fred Bronson’s invaluable The Billboard Book of Number One Hits).
Most Hot 100 No. 1s by Writers:
32, Paul McCartney
26, John Lennon
26, Max Martin
18, Mariah Carey
18, Lukasz “Dr. Luke” Gottwald
16, Barry Gibb
15, James “Jimmy Jam” Harris III
15, Brian Holland
15, Terry Lewis
14, Lamont Dozier
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Most Hot 100 No. 1s by Producers:
24, Max Martin
23, George Martin
18, Lukasz “Dr. Luke” Gottwald
16, James “Jimmy Jam” Harris III
16, Terry Lewis
15, Mariah Carey
14, Barry Gibb
13, Lamont Dozier
13, Albhy Galuten
13, Brian Holland
13, Karl Richardson
As for other talents on the lists above, Mariah Carey’s count climbed to 18 Hot 100 No. 1s as a writer and 15 as a producer, and 19 as an artist, thanks to her 25-years-in-the-making present received when “All I Want for Christmas Is You” reached No. 1 in December 2019. (Carey’s only No. 1 that she didn’t author? Her 1992 cover of the Jackson 5’s “I’ll Be There.”)
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Barry Gibb’s totals include the Bee Gees’ nine Hot 100 No. 1s, seven of which Albhy Galuten and Karl Richardson also produced. Gibb, Galuten and Richardson also co-produced all three of Andy Gibb’s leaders.
James “Jimmy Jam” Harris III and Terry Lewis guided the sound of pop/R&B beginning in the ’80s, having co-written and co-produced 14 Hot 100 No. 1s, including nine recorded by Janet Jackson. They also co-produced George Michael’s 1988 leader “Monkey” and Usher’s 2001 topper “U Remind Me,” giving them 16 total No. 1s as producers, and co-wrote Carey’s 1996 leader “Always Be My Baby,” making for 15 No. 1s for them as writers.
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Brian Holland and Lamont Dozier, along with Eddie Holland (13 Hot 100 No. 1s as a writer), made their influential mark on Motown, thanks in large part to the threesome having written (and Brian Holland and Dozier having produced) the first 10 of The Supremes’ 12 total No. 1s in the ’60s.
Also, a special mention of Steve Sholes, who, while not on the rankings above, produced 10 No. 1s by Elvis Presley on Hot 100 predecessor charts in 1956-58 and six of the King’s seven Hot 100 leaders following the survey’s inception.
Forever No. 1 is a Billboard series that pays special tribute to the recently deceased artists who achieved the highest honor our charts have to offer — a Billboard Hot 100 No. 1 single — by taking an extended look back at the chart-topping songs that made them part of this exclusive club. Here, we honor the late David Soul by looking at the TV star’s lone major U.S. hit as a recording artist: The ’70s soft-rock ballad “Don’t Give Up on Us.”
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“My name is David Soul and I want to be known for my music.”
The mid-to-late ’70s were a peak period for television’s impact on the Billboard charts. With primetime TV modernizing and diversifying under the influence of innovators like Norman Lear and Aaron Spelling, the biggest shows were crossing over into all parts of popular culture, with theme songs for such hit shows as Happy Days, Welcome Back Kotter and S.W.A.T. all becoming Billboard Hot 100 smashes. What’s more, the stars of the shows themselves were starting to launch pop careers: John Travolta, then best known as Kotter high-school lunk Vinnie Barbarino, had a top 10 single in 1976 with the soft ballad “Let Her In”; a few years later, actor David Naughton reached the top 5 with the discofied title theme to his starring vehicle Makin’ It.
David Soul, star of hit ’70s undercover-cop show Starsky & Hutch — he was Hutch — also benefited from the TV-pop boom of the times. But unlike the aforementioned actor-artists, Soul’s recording career wasn’t just some dalliance or cash-in on a popularity that had simply grown too big for a single medium: He had actually started out as a musician. Soul went the folkie route in the Midwest in the mid-’60s before trying to make it in New York by performing masked and billing himself as “The Covered Man,” finding some success as a guest on variety shows like The Merv Griffin Show, where he would regularly deliver that line up top about wanting to be recognized for his music. Once he revealed himself to be a handsome, blond young man, the novelty of his anonymous routine wore off — but he started attracting the attention of producers in film and TV, who cast him in small guest roles on Flipper, Star Trek, The Streets of San Francisco and more big shows of the late ’60s and ’70s.
His big break came with Starsky & Hutch in 1975, as the action drama won viewers over with its cool cars, hip style (at least by mid-’70s TV standards) and likeable characters. With the show a success and Soul a primetime heartthrob, he saw the opportunity to relaunch his music career — signing to Private Stock records, with promises that he’d be taken seriously as a musician. In 1976, he released his self-titled debut album, and in early 1977, its breakout ballad “Don’t Give Up on Us” started climbing the Hot 100, becoming Soul’s first hit single.
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But “Don’t Give Up on Us” wasn’t actually featured on initial pressings of David Soul. In fact, the dead-center top 40 love song doesn’t sound much like anything else on the album, which is much more in line with the acclaimed work of sardonic ’70s singer-songwriters like Randy Newman and Harry Nilsson — maybe with a bit of ’60s psych-pop mad geniuses like Brian Wilson and Syd Barrett thrown in — and even features a cover of Leonard Cohen’s signature ballad “Bird on a Wire.” But the album had received only limited release by the time Soul had recorded “Give Up,” and sensing hit potential, Private Stock quickly recalled and re-pressed the album to include the new song.
It’s not surprising that the label saw potential in the song, or that they were ultimately validated for doing so. “Give Up” was penned and co-produced by veteran hitmaker Tony Macauley, who helmed a number of major pop hits of the late ’60s and ’70s — even including two of the Billboard staff’s 500 Best Pop Songs of the Hot 100 era, The Foundations’ “Build Me Up Buttercup” and Edison Lighthouse’s “Love Grows (Where My Rosemary Goes).” “I talked to Tony from the stage of Starsky and Hutch,” Soul told Fred Bronson for The Billboard Book of Number 1 Hits of Macauley trying to sell him on meeting to record a couple songs. “I liked the way he talked to me on the phone so I just said, ‘Sure, come on over.’”
“Give Up” carries Macauley’s deft and delicate touch in its tender melody, with a satisfying and unpredictable chord structure and arrangement reminiscent of Burt Bacharach. The lyrics are mostly sappy and a little silly throughout (“Can’t we stay the way we are?/ The angel and the dreamer/ Who sometimes plays a fool”), but a mysterious bridge where Soul admits, “I really lost my head last night/ You’ve got a right to stop believing,” does introduce a little drama and complexity to the narrative. And the refrain, which weaponizes its title plea by putting it right at the top each time, gets its hooks in you from the very start — leading off the song and appearing consistently enough throughout it to never really let you go from there.
It’s never less than a professional pop production, and one that Soul himself is more than capable of selling with his lilting baritone — particularly when his voice gets double-tracked for some gorgeous self-harmonies on subsequent choruses — which grows just mighty enough to handle the money note on his climactic “We can still come through” insistence. It’s not the most demanding or challenging song, certainly, but it was a perfect fit on late-’70s AM radio, and a natural smash on the Hot 100 in the era of pillow-soft romantic-strife ballad No. 1s like Mary McGregor’s “Torn Between Two Lovers” and Chicago’s “If You Leave Me Now.”
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The song debuted at No. 74 on the Hot 100 dated Jan. 29, 1977, about two-thirds of the way through Starsky & Hutch‘s second season. A little less than three months later, it topped the listing dated Apr. 16, replacing ABBA’s “Dancing Queen” on top before giving way to Thelma Houston’s “Don’t Leave Me This Way” just a week later — with the dancefloor classics on both sides of its No. 1 run portending the complete disco takeover that would nearly consume the chart in the final years of the decade. The song also topped the Official Charts in the U.K., where Soul was even more of a teen idol, and began an impressive run of hits for the singer that also included a trio of top 10 hits from his sophomore album, 1977’s Playing to an Audience of One, led by a second No. 1 hit in the more prowling “Silver Lady.”
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But in the States, “Don’t Give Up on Us” was Soul’s lone visit to the top 40. No additional singles were pulled from David Soul, and while both “Lady” and the Manilow-esque “Going In With My Eyes Open” hit the Hot 100 from Audience of One, neither made it past the 50s. Soul got lost in the MOR shuffle of the late ’70s — it was probably never particularly natural terrain for the former folkie to begin with — and perhaps subsumed a little on radio by disco’s growing dominance. Starsky & Hutch only lasted another couple seasons, as ratings declined and co-star Paul Michael Glaser wanted off the show. By the ’80s, Soul was largely a Me Decade relic in the U.S., starring in a couple failed TV series (including an ill-fated small-screen adaptation of Casablanca) and eventually moving to the U.K. to successfully pursue theater work.
Becoming a ’70s pop one-hit wonder — especially with such a massive one hit — probably isn’t what Soul would have guessed would be his primary musical legacy when he was first starting out in the mid-’60s. But David Soul wanted to be remembered for his music, and if nothing else, “Don’t Give Up on Us” ensured that every obituary published about him in the past month had to get in at least one sentence in the lead paragraph about it.
It’s Noah Kahan season in the U.K., as the American singer songwriter looks set to extend his reign over the singles chart, and separately land the top debut.
The Vermont artist’s folky hit “Stick Season” (via Republic Records) appears set to capture a fourth consecutive chart crown. Based on midweek sales and streaming data published by the Official Charts Company, “Stick Season” mounts a lead of 7,000 chart units over its nearest rival.
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That rival is Sophie Ellis-Bextor’s “Murder on the Dancefloor” (Polydor), which keeps grooving thanks to its prominent sync in the black-as-coal drama Saltburn. Originally released back in 2001, “Murder on the Dancefloor” is forecast to rebound 3-2, to equal its best chart position.
Kahan should snag the week’s top debut with “Homesick,” his collaboration with British singer and songwriter Sam Fender. “Homesick,” a version of which appears on Kahan’s Stick Season album, is expected to give both artists their second U.K. top 10 single.
Meanwhile, Benson Boone, the U.S.-born singer, multi-instrumentalist and TikTok star, who was named as MTV’s Global PUSH Artist for October 2023, is on target for his first U.K. top 20 appearance with “Beautiful Things” (Warner Records). It’s new at No. 16 on the Official Chart Update. Previously, Boone nudged the chart at No. 46 with 2021’s “Ghost Town,” and cracked the top 40 for the first time with 2022’s “In The Stars,” peaking at No. 21.
Finally, Becky Hill and Sonny Fodera are eyeing a top 40 debut with their collaborative effort, “Never Be Alone” (Polydor). It’s new at No. 26 on the chart blast, and is set to give Hill, the English singer and songwriter, her 19th U.K. top 40 single, a tally that includes a No. 1 with Oliver Heldens on 2014’s “Gecko (Overdrive)”; and Fodera, the Australian DJ and producer, his second.
All will be revealed when the Official U.K. Singles Chart is published Friday, Jan. 26.
Green Day is bolting to the U.K. chart throne with Saviors (via Reprise), the U.S. pop-punk legends’ 14th studio album.
It’s not even close. Based on midweek sales and streaming data published by the Official Charts Company, Saviors is outselling the rest of the top 10 combined.
With Saviors, the Bay Area trio of Billie Joe Armstrong, Mike Dirnt and Tré Cool will notch a fifth U.K. crown, following American Idiot (2004), 21st Century Breakdown (2009), Revolution Road (2016) and Father of All… (2020), their most recent studio effort.
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For British fans, this could well be the summer of Green Day. The rockers’ The Saviors Tour of Europe kicks off late May, with a handful of U.K. dates locked in for June, including concerts at Manchester’s Old Trafford Stadium, Isle of Wight Festival, and London’s Wembley Stadium.
As previously reported, Green Day will play Dookie (celebrating its 30th anniversary) and American Idiot (for its 20th anniversary) in full at all shows.
In a distance second place on the midweek U.K. chart is Welsh pop-punk band Neck Deep’s eponymously titled fifth LP. Neck Deep (Hopeless) is set to become the Wrexham-formed five-piece’s fourth top 10 appearance, and career high on the albums chart, eclipsing the No. 4 best for 2017’s The Peace and the Panic and 2020’s All Distortions Are Intentional.
Completing an all-new, all-rock top three on the Official Chart Update is Saxon’s Hell Fire and Damnation (Militia Guard Music), the British heavy metal band’s 24th studio album. If it holds its course, Hell Fire and Damnation will mark the veteran band’s fourth top 10 LP, and career best chart position.
Further down the midweek tally, 10, Bournemouth, England rockers South of Salem look to make a dent for the first time with Death of the Party (Spider Party), new at No. 14; Shaun Ryder’s Black Grape could nab a fourth U.K. top 40 (and first in seven years) with Orange Head (Dgaff Recordings), new at No. 26; and folk act Fisherman’s Friends set sail for what could be a fifth top 40 LP with 10th LP All Aboard (Island), set to start at No. 36.
All will be revealed when the Official U.K. Albums Chart is published late Friday, Jan. 26.
Kali Uchis scores her first No. 1 on Billboard’s Top Album Sales chart (dated Jan. 27), as Orquídeas arrives atop the list with her biggest sales week ever – 31,000 copies sold in the U.S. in the week ending Jan. 18, according to Luminate. Of that sum, vinyl sales accounted for 20,000 – marking the largest week for a Spanish-language album on vinyl since Luminate began tracking sales in 1991. The effort also launches at No. 1 on the Vinyl Albums ranking, No. 1 on Top Latin Albums (her first leader there) and starts at a career-high No. 2 on the Billboard 200.
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Elsewhere in the top 10 of the new Top Album Sales chart, Jimin’s former No. 1 FACE re-enters at No. 4 following its vinyl release and Kid Cudi’s new album Insano starts at No. 5.
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. All of Billboard’s new Jan. 27, 2024-dated charts will be posted in full on Billboard‘s website on Jan. 23. For all chart news, follow @billboard and @billboardcharts on both Twitter and Instagram.
Of the 31,000 copies sold of Orquídeas, physical sales comprise 30,000 (20,000 on vinyl, 10,000 on CD and negligible sum on cassette) and digital download album sales comprise 1,000. Its sales were bolstered by its availability across seven vinyl variants and four CD editions, including exclusive versions sold through independent record stores, Target, Urban Outfitters and the artist’s webstore.
Six Taylor Swift albums populate the top 10, all former No. 1s, led by Folklore, which pushes 3-2 with 19,000 (up 92%, owed to a replenishment of CD stock at retail). 1989 (Taylor’s Version) falls 1-3 (13,000; down 20%), Midnights dips 2-6 (8,000; down 29%), Lover descends 5-8 (7,000; down 28%), Evermore falls 7-9 (6,000; down 8%) and Speak Now (Taylor’s Version) drops 6-10 (5,000; down 25%).
Jimin’s FACE re-enters at No. 4 with nearly 10,000 sold (up 3,501%) following the set’s release on vinyl. It sold 8,000 copies on vinyl in the week ending Jan. 18, and enters at No. 2 on the Vinyl Albums chart. FACE was issued in only one vinyl edition, and included a photo book, postcard and photocard inside its packaging.
Kid Cudi scores his sixth top 10-charting effort on Top Album Sales, as his latest studio album Insano starts at No. 5 with 8,500 sold. Of that sum, physical sales comprise 7,000 (about 5,500 on vinyl and 1,500 on CD) and digital downloads comprise 1,500. The album’s sales were enhanced by its availability across four vinyl variants and four CD editions.
Stray Kids’ chart-topping ROCK-STAR falls 4-7 on Top Album Sales, with nearly 8,000 sold (down 19%).
In the week ending Jan. 18, there were 1.083 million albums sold in the U.S. (down 9.3% compared to the previous week). Of that sum, physical albums (CDs, vinyl LPs, cassettes, etc.) comprised 822,000 (down 12.1%) and digital albums comprised 261,000 (down 0.6%).
There were 370,000 CD albums sold in the week ending Jan. 18 (down 15.7 week-over-week) and 449,000 vinyl albums sold (down 8.8%). Year-to-date CD album sales stand at 1.316 (down 27.2% compared to the same time frame a year ago) and year-to-date vinyl album sales total 1.566 million (down 45.9%).
Overall year-to-date album sales total 3.694 million (down 35.5% compared to the same year-to-date time frame a year ago). Year-to-date physical album sales stand at 2.895 million (down 38.8%) and digital album sales total 799,000 (down 19.5%).
Tommy Newport is a newcomer to not just the Billboard Hot 100, but all Billboard charts, thanks to his guest appearance on 21 Savage’s “Red Sky.”
The track, also with Mikky Ekko, debuts at No. 57 on the latest Jan. 27-dated Hot 100 with 8.4 million official U.S. streams in its opening week (Jan. 12-18), according to Luminate. It also starts at No. 21 on Hot Rap Songs, No. 24 on Hot R&B/Hip-Hop Songs and No. 34 on the all-genre Streaming Songs chart.
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“Red Sky” is from 21 Savage’s new LP American Dream, released via Slaughter Gang/Epic Records. It debuts at No. 1 on the Billboard 200 with 133,000 equivalent album units, becoming his fourth chart-topping set.
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Tommy Newport (real name: Oliver Milmine), born in Manchester, England, and raised in Wichita, Kan., has released two solo studio albums in his career: Just To Be Ironic, in 2018, and Glasshead, in February 2023—both on Real Dirty Boy/Silk Ivory. Outside of 21 Savage, he has collaborated with Jazz Cartier (“Jackpot”) and EARTHGANG (“Stargazer”).
Newport, who released his new single “Secret Place” on Friday (Jan. 18), concurrently debuts at No. 35 on the Emerging Artists chart.
As previously reported, all 14 chart-eligible songs from 21 Savage’s American Dream enter the Hot 100, including two in the top 10: “Redrum,” at No. 5, and “Née-nah,” with Travis Scott and Metro Boomin, at No. 10. The debuts up 21 Savage’s total to 103 career Hot 100-charting hits—he becomes just the 16th artist to amass 100 entries or more over the chart’s 65-year history.
It’s said that a pregnancy is a blessing, and that couldn’t be more on point for Kali Uchis, who scores her first No. 1 on Billboard’s Top Latin Albums chart with Orquídeas, as the new album debuts atop the list dated Jan. 27. The set’s roaring start arrives after the Colombian artist announced she was expecting her first child with Don Toliver in the music video for “Tu Corazón Es Mío” on Jan. 11.
“Very grateful to have the opportunity to keep growing every release and very grateful to my community,” Uchis tells Billboard.
Orquídeas, Uchis’ second Spanish-language album, was released Jan. 12 via Geffen/IGA, the first day of the tracking week ending Jan. 18. According to Luminate, the 14-track set starts with 69,000 equivalent album units earned in the U.S. – her biggest week ever.
Of Orquídeas’ first-week sum, streaming activity delivers 39,000 units, a figure equating to 51 million official on-demand streams of the album’s tracks – her largest streaming week ever for an album. Traditional album sales contribute 31,000 (her largest sales week yet), while the remaining balance stems from a negligible amount of track-equivalent album units. On Top Latin Albums, one unit equals to one album sale, 10 individual tracks sold from an album, or 3,750 ad-supported or 1,250 paid/subscription on-demand official audio and video streams for a song on the album.
With Orquídeas’ No. 1 entrance, Uchis bests her only career and first top 10 entry on Top Latin Albums: Sin Miedo (Del Amoy y Otros Demonios), her first Spanish-language full-lenghth, peaked at No. 3 in March 2021. The set delivered the eight-week champ “Telepatía” on Hot Latin Songs and her highest-ranking entry on the overall Billboard Hot 100 (No. 25 high).
Orquídeas concurrently gifts Uchis her second No. 1 entry on Latin Pop Albums, after Sin Miedo ruled for 11 weeks between March 2021 and July 2022. In total her first all-Spanish album has held in the top 10 for 165 weeks since its debut, encompassing the entire stay on the chart.
Elsewhere, Orquídeas begins at No. 2 on the all-genre Billboard 200, Uchis’ best performance there, following Red Moon in Venus (No. 4 high, March 2023), and an equal No. 1 debut on Top Albums Sales and Vinyl Albums. On the latter, it becomes the first Spanish-language album by a woman to debut atop the ranking. Bad Bunny is the only other act to debut at No. 1 with a Spanish-language album.
Orquídeas also spawns 12 debuts on the multi-metric Hot Latin Songs chart including the No. 1 start of “Igual Que Un Ángel,” with Peso Pluma. “I honestly wasn’t expecting that! Uchis adds. “I wrote and recorded the song a while ago and was shocked and excited that Peso wanted to jump on that one in particular because I love encouraging artists to step out of their comfort zone when creating.”
With those new debuts, “Labios Mordidos,” with Karol G, rising from No. 36 to No. 14, and the re-entry of “Muñekita,” with El Alfa and JT, at No. 36, the complete album takes over the chart which blends airplay, streaming data, and digital sales.
About which song Uchis relates with the most, she adds: “I deeply relate to all of them because I write all my own music, but I would say my favorite song is probably “¿Cómo Así?” because I feel it’s the most unique.”
Thanks to the new album and standout cuts, Uchis returns to the Billboard Artist 100 chart at No. 2, surpassing her No. 6 position in March 2023. The list measures artist activity across key metrics of music consumption, blending album and track sales, radio airplay and streaming to provide a weekly multi-dimensional ranking of artist popularity.
For all chart news, you can follow @billboard and @billboardcharts on Billboard’s social accounts, and all charts (dated Jan. 27) will refresh on Billboard.com on Tuesday (Jan. 23).
21 Savage has a huge week on Billboard’s charts, thanks to his new album, American Dream.
The set debuts at No. 1 on the Billboard 200 (dated Jan. 27) with 133,000 equivalent album units earned in its opening week (Jan. 12-18), according to Luminate, while all 14 chart-eligible songs from the LP enter the Billboard Hot 100, including two in the top 10.
The 14 debuts up 21 Savage’s total to 103 career Hot 100-charting hits. He becomes just the 16th artist to amass 100 entries or more over the chart’s 65-year history.
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Here’s a look at all of 21 Savage’s entries (includes two previously-charting songs) on the latest Hot 100.
21 Savage on the Jan. 27, 2024-dated Hot 100:Rank, TitleNo. 5, “Redrum”No. 10, “Née-nah,” with Travis Scott & Metro BoominNo. 18, “All of Me”No. 19, “N.H.I.E.,” with Doja CatNo. 31, “Pop Ur Sht,” with Young Thug & Metro BoominNo. 33, “Sneaky”No. 35, “Dangerous,” with Lil Durk & Metro BoominNo. 40, “Should’ve Wore a Bonnet,” with Brent FaiyazNo. 43, “Prove It,” with Summer WalkerNo. 48, “Good Good,” with Usher & Summer Walker (down from No. 34, after hitting No. 25)No. 50, “Surround Sound” (JID featuring 21 Savage & Baby Tate) (down from No. 40 peak)No. 57, “Red Sky,” with Tommy Newport & Mikky EkkoNo. 59, “Letter to My Brudda”No. 66, “See the Real”No. 67, “Just Like Me,” with Burna Boy & Metro BoominNo. 70, “Dark Days,” with Mariah The Scientist
Thanks to his appearance on “Red Sky,” Tommy Newport scores his first entry on not just the Hot 100, but any Billboard chart. Mikky Ekko, also on the song, returns to the Hot 100 for the first time as a recording artist since his featured appearance on Rihanna’s “Stay” in 2013., Ekko co-wrote “Stay” – as well as Teddy Swims’ “Lose Control,” which holds at its No. 8 high a week after reaching the top 10.
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With 103 total Hot 100 entries, 21 Savage passes The Weeknd (98), Eminem (96), Bad Bunny (93), Young Thug (93) and James Brown (91) for the 16th-most career hits.
Here’s an updated look at every act that has charted 100 or more Hot 100 entries.
Most Career Billboard Hot 100 Hits (through Jan. 27, 2024):328, Drake232, Taylor Swift207, Glee Cast186, Lil Wayne168, Future147, Nicki Minaj141, Kanye West138, Lil Baby116, Chris Brown113, Travis Scott109, Elvis Presley (whose career predates the Hot 100’s inception)108, Lil Uzi Vert105, Justin Bieber105, Jay-Z104, YoungBoy Never Broke Again103, 21 Savage
Of 21 Savage’s 103 total songs to have made the Hot 100, 53 have reached the top 40; 17 have hit the top 10; and two, via featured roles, hit No. 1: Post Malone’s “Rockstar” (2017) and Drake’s “Jimmy Cooks” (2022).
Before 21 Savage, the last artist to join the 100 Hot 100 hits club was Travis Scott, last August after releasing his album Utopia. Two other acts achieved the feat in 2023: Lil Uzi Vert in July, and YoungBoy Never Broke Again in May.
While it’s rare for artists to chart triple-digit entries on the Hot 100, it has become a more regular occurrence since the ranking began including streaming figures in 2007. As such, some artists have been able to chart a high number of songs on the Hot 100 after releasing high-profile albums. The model contrasts with prior decades, when acts generally promoted one single at a time in the physical-only marketplace and on radio. That shift in consumption helps explain why artists have been able to chart many songs over short spans in recent years.
Ariana Grande’s “Yes, And?” debuts at No. 1 on both the Billboard Global 200 and Billboard Global Excl. U.S. charts. Grande earns her third leader on the former and her second on the latter.
The song is the lead single from Grande’s seventh studio album, Eternal Sunshine, due March 8 (as announced Jan. 17).
Elsewhere, 21 Savage debuts two songs in the Global 200’s top 10 – “Redrum,” at No. 5, and “Née-nah,” with Travis Scott and Metro Boomin, at No. 8 – Kali Uchis and Peso Pluma’s “Igual Que Un Ángel” opens at No. 9 and Xavi’s “La Victima” ascends 15-10. Plus, Bizarrap and Young Miko’s “Bzrp Music Sessions, Vol. 58” begins at No. 5 on Global Excl. U.S. and “La Victima” darts 18-9.
The Billboard Global 200 and Billboard Global Excl. U.S. charts 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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Grande Debuts Atop Global 200
Released Jan. 12, Ariana Grande’s “Yes, And?” starts atop the Billboard Global 200 with 94.4 million streams and 67,000 sold worldwide through Jan. 18. Grande earns her third leader on the list, after “Save Your Tears,” with The Weeknd, reigned for a week in May 2021 and “Positions” premiered atop the chart and led for two weeks in November 2020.
Jack Harlow’s “Lovin on Me” drops to No. 2 after two weeks atop the Global 200; Tate McRae’s “Greedy” slides 2-3, after two weeks at No. 1 beginning in November; and Xavi’s “La Diabla” dips to No. 4 from its No. 3 high.
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21 Savage debuts two songs in the Global 200’s top 10: “Redrum,” at No. 5, and “Née-nah,” with Travis Scott and Metro Boomin, at No. 8. The tracks start with 44.7 and 33.8 million streams, respectively, and 1,000 sold each, worldwide. 21 Savage scores his 15th and 16th top 10s – with “Redrum” marking his first with no accompanying artists. Travis Scott adds his ninth top 10 and Metro Boomin, his fifth. The songs are from 21 Savage’s LP American Dream, which bounds in at No. 1 on the U.S.-based Billboard 200 albums chart.
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Kali Uchis and Peso Pluma’s “Igual Que Un Ángel” arrives at No. 9 on the Global 200 with 38.2 million streams and 1,000 sold worldwide. Kali Uchis notches her second, and top-charting, top 10 on the ranking, after “Telepatía” hit No. 10 in April 2021, while Peso Pluma banks his 10th. The collaboration is from Kali Uchis’ new album Orquídeas, released Jan. 12.
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Plus, Xavi claims his second Global 200 top 10, as “La Victima” jumps 15-10 with 46.1 million streams (up 44%).
‘Yes, And’ Grande’s Also No. 1 on Global Excl. U.S.
Ariana Grande’s “Yes, And?” concurrently roars in atop the Billboard Global Excl. U.S. chart, with 68 million streams and 26,000 sold outside the U.S. Jan. 12-18. Grande tops the tally for a second time, after “Positions” led in its debut week in November 2020.
Tate McRae’s “Greedy” retreats to No. 2 on Global Excl. U.S. after three weeks in charge; Xavi’s “La Diabla” descends to No. 3 from its No. 2 high; and Jack Harlow’s “Lovin on Me” falls to No. 4 from its No. 3 best.
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Bizarrap and Young Miko’s “Bzrp Music Sessions, Vol. 58” debuts at No. 5 on Global Excl. U.S., with 36.8 million streams outside the U.S. in its first full tracking week (Jan. 12-18), following its Jan. 10 release. The track is Bizarrap’s fifth top 10 on the chart, following the series’ “Vol. 57,” with Milo J (No. 10, last October); “Vol. 55,” with Peso Pluma (one week at No. 1, June); “Vol. 53,” with Shakira (No. 2, January); and “Vol. 52,” with Quevedo (six weeks at No. 1, beginning in July 2022. Young Miko posts her second top 10, after “Fina,” with Bad Bunny, hit No. 10 in October.
Additionally, as on the Global 200, Xavi adds his second Global Excl. U.S. top 10, as “La Victima” leaps 18-9 with 35.4 million streams (up 51%).
The Billboard Global 200 and Billboard Global Excl. U.S. charts (dated Jan. 27, 2024) will update on Billboard.com tomorrow, Jan. 23. 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.
