State Champ Radio Chart Beat
Page: 24
Morgan Wallen’s I’m The Problem continues its reign atop the ARIA Albums Chart, holding steady at No. 1 for a third consecutive week.
With this run, the album becomes the longest-running No. 1 by a country artist in Australia in nearly a decade, since Lee Kernaghan’s Spirit of the Anzacs spent four weeks at the summit in 2015. The all-time country record remains Shania Twain’s Come On Over, which dominated for 20 non-consecutive weeks in 1999.
Wallen is also making waves on the ARIA Singles Chart, landing at No. 14 this week with “What I Want,” featuring Tate McRae.
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Speaking of McRae, the Canadian pop star debuts at No. 5 with “Just Keep Watching,” her contribution to the Brad Pitt-led F1 soundtrack. The track, co-written by Ryan Tedder of OneRepublic, becomes her 11th top 20 hit on the ARIA chart. Her highest-charting single to date, “Greedy,” peaked at No. 2 in 2023.
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Meanwhile, Taylor Swift’s Reputation rockets from No. 34 to No. 2 this week following the news that she has secured the master rights to her first six albums. Four of those — Fearless (Taylor’s Version), Red (Taylor’s Version), Speak Now (Taylor’s Version) and 1989 (Taylor’s Version) — have been re-recorded and released. The exceptions are Reputation and her 2006 self-titled debut. In recent interviews, Swift has confirmed that she has completed “less than a quarter” of Reputation (Taylor’s Version). The original album previously spent two weeks at No. 1 in 2017.
Miley Cyrus also enters the albums chart this week, with Something Beautiful debuting at No. 4. It’s her ninth studio album and eighth to chart inside the top 20 in Australia. Three of her albums have gone all the way to No. 1 — Breakout (2008), Bangerz (2013), and Endless Summer Vacation (2023). As Hannah Montana, she also charted three top 20 albums.
On the Aussie front, beloved indie rockers Cloud Control re-enter the ARIA Albums Chart at No. 19 with their 2010 debut Bliss Release, following their surprise reunion after a seven-year hiatus. The album originally peaked at No. 20 and earned the band critical acclaim and a devoted local following. Their highest-charting release remains Dream Cave, which reached No. 9 in 2013.
Finally, Alex Warren’s “Ordinary” holds at No. 1 on the ARIA Singles Chart for an 11th straight week. The streak ties it with seven other long-running chart-toppers in Australian history, including Wings’ “Mull of Kintyre,” Bryan Adams’ “(Everything I Do) I Do It For You,” Spice Girls’ “Wannabe,” Drake’s “God’s Plan,” The Weeknd’s “Blinding Lights,” 24kGoldn and Iann Dior’s “Mood,” and Glass Animals’ “Heat Waves.”
Banda Los Recoditos collect their ninth No. 1 on Billboard’s Regional Mexican Airplay chart as “Una Peda Menos” shoots from No. 5 for its first week atop the list, dated June 7. “We’re truly very happy with this No. 1 hit,” Rafa González, lead vocalist, tells Billboard. “We are very proud and satisfied because we’ve been working hard, and for us this is the result of everything we do.”
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“Una Peda Menos” takes over the tally with the Greatest Gainer honors — awarded weekly to the song with the largest gain in audience — with 7.1 million audience impressions logged during the May 23-29 tracking week, according to Luminate. The single enjoyed a 34% growth in impressions compared to the week prior.
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The song, released Feb. 21, marks Banda Los Recoditos’ ninth No. 1 on the Regional Mexican Airplay chart. It also serves as their first hit under the newly reintroduced Fono label, previously known as Fonovisa-Disa. Here’s a recap of Banda Los Recoditos’ collection of No. 1s on Regional Mexican Airplay dating back to 2010:
Title, Peak, Weeks at No. 1“Ando Bien Pedo,” Feb. 13, 2010, 12“Mi Último Deseo,” Dec. 28, 2013, one“Hasta Que Salga El Sol,” Nov. 1, 2014, one“Tiempo,” April 14, 2018, five“Perfecta,” July 13, 2019, three“Me Siento A Todo Dar,” April 23, 2022, one“Fuerte No Soy,” Oct. 15, 2022, one“Vas A Querer Volver,” Jan. 6, 2024, one“Una Peda Menos,” June 7, 2025, one
As “Una Peda” rises, it trades places with Luis Angel “El Flaco”’s “Vuelve a Mi,” which falls 1-5 after a 23% decline in audience impressions, to 5.2 million.
“We want to thank the audience, our fans, and our family because they’ve always supported us, and that’s what motivates us to continue bringing you, our music. God bless you!”
Elsewhere, “Una Peda” rises 12-4 on the overall Latin Airplay chart, for a new peak, after one week at No. 9 in May.
Joe Jonas scores his first solo top 10-charting effort on Billboard’s Top Album Sales chart as his second solo album, Music for People Who Believe in Love, debuts at No. 3 on the chart dated June 7. The set sold 17,000 copies in the United States in the week ending May 29, according to Luminate. Of that sum, vinyl purchases comprise 4,000 – a personal best sales week for Jonas as a soloist on vinyl.
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Jonas has issued one solo studio album previously, 2011’s Fastlife, which debuted and peaked at No. 15 on Top Album Sales. Jonas is also a member of Jonas Brothers, and that trio has logged seven top 10s on Top Album Sales (including four No. 1s). DNCE also counts Joe as a member, and that group has reached Top Album Sales once, with its self-titled project, reaching No. 14 in 2016.
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Elsewhere in the top 10 of the Top Album Sales chart, Playboi Carti, BAEKHYUN and Stereolab all shake-up the region with moves reentries and debuts.
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 (TEA) units and streaming equivalent album (SEA) units.
Morgan Wallen’s I’m the Problem holds at No. 1 on the Top Album Sales chart for a second week (28,000; down 79% from its debut of 133,000). Playboi Carti’s MUSIC reenters the list at No. 2 with nearly 18,000 (up from a negligible sum the week previous) following the fulfillment of deluxe boxed sets, exclusively sold via his webstore, to customers during the tracking week. BAKHYUN’s Essence of Reverie debuts at No. 4 with nearly 10,500. Kendrick Lamar’s chart-topping GNX rises two spots to No. 5 with 8,000 (up 16%).
Rounding out the rest of the top 10: Jin’s Echo falls 2-6 in its second week (just over 6,000; down 82%), BOYNEXTDOOR’s 4th EP: No Genre dips 3-7 in its second week (6,000; down 57%), Sabrina Carpenter’s chart-topping Short n’ Sweet rises 11-8 (nearly 6,000; up 2%), Stereolab’s Instant Holograms on Metal Film debuts at No. 9 (almost 6,000) and Sleep Token’s former leader Even in Arcadia falls 4-10 (5,500; down 29%).
BE:FIRST’s “GRIT” blasts in at No. 1 on the Billboard Japan Hot 100, on the chart released June 4.
The CD version of the track went on sale on May 28, two days after being dropped digitally. The song launched with 105,783 copies to hit No. 2 for sales, while dominating downloads, radio airplay, video views and coming in at No. 4 for streaming.
“Muchu” by the boy band also jumped 15-8 to break into the top 10. It’s a track off the group’s ”GRIT” single and was digitally released ahead of the title track on Apr. 25. It topped downloads on the chart released Apr. 30 and debuted on the Japan Hot 100 at No. 13. This week, the release of the CD version fueled the track and downloads gained 180% compared to the week before, while streaming is up 102%, and video up 135%.
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Hey! Say! JUMP’s “encore” bows at No. 2. The eight-member boy band’s 35th single is being featured as the theme song for the drama series starring member Keii Inoo. The track rules sales with 213,556 copies sold in its first week, while hitting No. 16 for downloads, No. 63 for streaming, No. 23 for radio and No. 21 for video.
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Mrs. GREEN APPLE’s “KUSUSHIKI” rises a notch to No. 3. Streams, downloads, and karaoke for the track gained this week, possibly powered by the new YouTube Premium commercial featuring the song, released May 28.
At No.4 is the title track of OCTPATH’s seventh single, “Mata Natsu ni Kaerou” (Let’s go back to summer again). The track written by RYOJI from Ketsumeishi sold 75,111 copies in its first week to hit No. 3 for sales.
HANA’s “ROSE” is up a position to No. 5. Karaoke and radio for the new girl group’s debut single gained 106% and 110%, respectively. HANA made headlines recently when awarded the Best New Artist (Singer) award at the ASIA STAR ENTERTAINER AWARDS 2025 Presented by ZOZOTOWN.
In other chart moves, CANDY TUNE’s “BAIBAI FIGHT!” soars 62-19. The song was released in April 2024, but the seven-member ASOBISYSTEM girl group performed it on YouTube’s THE FIRST TAKE (May 23) and also at the KAWAII LAB. SESSION Vol.14 in Makuhari event on May 25. Streams are up 148% compared to last week and video soared 317%, placing the song in the top 20 for the first time.
The second half of the year begins this week for Billboard Japan’s charts, and recurrent rules have been implemented on the Japan Hot 100 and Hot Albums tallies. The Streaming Songs chart is exempt from the recurrent criteria, and will be calculated in the same way as it has been up to the 2025 mid-year list.
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 May 26 to June 1, here. For more on Japanese music and charts, visit Billboard Japan’s English X account.
SZA’s SOS sails into uncharted waters on Billboard’s Top R&B/Hip-Hop Albums chart by becoming the longest-running No. 1 title in the chart’s 60-year history. The juggernaut earns the achievement with a 38th nonconsecutive week at No. 1, on the chart dated June 7, breaking its tie with Michael Jackson’s Thriller, which set the previous record of 37 weeks in 1983-84.
The new title-holder attains its historic week with 47,000 equivalent album units earned in the United States in the tracking week of May 23-29, according to Luminate, a 2% increase from the prior week. In total, SOS has spent 129 weeks on Top R&B/Hip-Hop Albums and has never fallen outside the top 10.
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SOS, SZA’s sophomore studio album, was released in December 2022 as the long-awaited follow up to the singer-songwriter’s acclaimed debut LP, 2017’s Ctrl. The set opened at No. 1 on Top R&B/Hip-Hop Albums and sparked hit singles such as “Kill Bill,” which spent a then-record 21 weeks at No. 1 on the Hot R&B/Hip-Hop Songs chart and “Snooze,” which spent 13 weeks at No. 2 on the chart. The album received a second wind in December 2024 with its deluxe LANA edition’s release that added more than a dozen songs to the track list, including hits “Saturn” and “30 for 30.”
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As SOS rewrites the record books, here’s an updated look at the albums with the most weeks at No. 1 on Top R&B/Hip-Hop Albums since the chart launched in 1965.
Most Weeks at No. 1 on Top R&B/Hip-Hop Albums Chart38, SOS, SZA, 2022-2537, Thriller, Michael Jackson, 1983-8429, Please Hammer Don’t Hurt ‘Em, M.C. Hammer, 199026, Just Like the First Time, Freddie Jackson, 1986-8723, Can’t Slow Down, Lionel Richie, 1983-8420, Songs in the Key of Life, Stevie Wonder, 1976-7720, Street Songs, Rick James, 198120, Shoot for the Stars Aim for the Moon, Pop Smoke, 2020-2119, Purple Rain, Prince and The Revolution, 198418, The Temptations Sing Smokey, The Temptations, 196518, Bad, Michael Jackson, 1987-88
Since a methodology change to Top R&B/Hip-Hop Albums in February 2017 added streaming and individual track sales into the chart’s calculations, albums tend to spend much longer on the list due to consistent streaming activity. Prior to the switch, the chart’s ranks were based solely on traditional album sales. A growing shift toward longer track lists, too, has helped many popular albums retain strong chart positions as multiple popular songs from an album have provided a foundation for steady streaming numbers.
Due to the shifts, several longevity milestones have been rewritten in recent years. In addition to holding the No. 1 record for decades, Thriller also had the most weeks in the top 10 of Top R&B/Hop-Hop Albums, at 76 frames in 1983-84. While no album matched that total for over 30 years, six albums have now passed Thriller’s top 10-week count, all of which were released in 2012 or later.
Elsewhere on Billboard’s charts, SOS captures a 112th week at No. 1 on Top R&B Albums, far and away the longest leader on the 12-year-old list. On the all-genre Billboard 200, SOS ranks at No. 2, after having ruled the chart for 12 nonconsecutive weeks since its No. 1 arrival in 2022.
803Fresh’s “Boots on the Ground” is flying high on Billboard’s Adult R&B Airplay chart as it rises from the runner-up spot to top the list dated June 7. The viral, line-dance track ascends by becoming the most played song on panel-contributing adult R&B radio stations in the United States in the tracking week of May […]
Welcome to Billboard Pro’s Trending Up newsletter, 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.
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This week: Each of Taylor Swift’s Reputation tracks are up following her announcement of having acquired the masters to her Big Machine-era albums — but which are up the most? Plus, a Kellyoke outing helps a Texas singer-songwriter get a break, and TikTok pettiness helps mint another fun new country hit.
Taylor Swift’s Surging ‘Reputation’: Which Songs Are Getting Streamed the Most?
Following Taylor Swift’s announcement on Friday (May 30) that she had bought back the master recordings of her first six albums, the superstar’s entire catalog posted sales and streaming gains, as Swifties rushed to celebrate the hard-fought victory. In addition to her five most recent studio albums and four Taylor’s Version re-records receiving boosts, her first six full-lengths naturally saw spikes in listenership — particularly Reputation, her 2017 opus which had not yet been given a Taylor’s Version treatment (and possibly never will).
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Reputation has experienced the biggest gain in consumption since Friday’s announcement, averaging 8,000 equivalent album units between Friday and Saturday, according to Luminate, and challenging for a return to the upper reaches of the Billboard 200 next week. Digging into the individual songs, every single track on the album earned a increase in daily U.S. on-demand audio streams of at least 70 percent in the four days after the announcement (May 30-June 2) compared to the same tracking period during the previous week (May 23-26), with “So It Goes…” getting the biggest percentage bounce by rising to 983,000 streams in those four days, up a whopping 262% from the previous week.
The biggest hits on Reputation earned big boosts as well: lead single and Hot 100 chart-topper “Look What You Made Me Do” rose 70% to 2 million streams between May 30-June 2, while “Delicate” was up 85% to 2.02 million streams over those four days. The most-streamed song on Reputation, however, was the opener, “…Ready For It?,” which earned 2.21 million streams over that four-day period (up 80%). When Swifties wanted to finally return to Reputation, they clearly wanted to start at the top and savor the whole thing. – JASON LIPSHUTZ
Elizabeth Nichols Has ‘Got a New’ Hit Following ‘Kellyoke’ Cover
While pop star-turned-TV host Kelly Clarkson has made the ‘Kellyoke’ covers segment on her eponymous talk show a pop institution largely taking on a combination of established classics and contemporary hits, occasionally she likes to look to the future a little. That’s what she did last week, when she took on Texas country singer-songwriter Elizabeth Nichols’ late-2024 single “I Got a New One,” a clever sung-spoken ditty that sees her responding to childish romantic ultimatums by calling “next” on her partners. “I love [that song] so much, it’s so funny,” raved Fort Worth native Clarkson after her performance. “I always love shining a light on a fellow Texan.”
And indeed, the spotlight has been on Nichols and her winning debut single in the days since. In the four days following Clarkson’s performance, “I Got a New One” racked up 549,000 official on-demand U.S. streams in total, according to Luminate – a 462% gain on the four-day period prior to the cover. Even more impressively, the song shot to the top tier of the iTunes chart on the back of nearly 3,200 in sales over that same period, up over 63,000% from a negligible amount the prior period.
Given the way the country world deemed Ella Langley a star following her breakout success with her similarly sung-spoken Riley Green duet “You Look Like You Love Me” just last year, it might not be long before Nashville decides it’s got a new one in Elizabeth Nichols. – ANDREW UNTERBERGER
Vengefulness Propels Blackly Comedic Kaitlin Butts Single to Viral Success
“F*cking finally!” proclaimed the country newsletter Don’t Rock the Inbox about the long-overdue viral success of Oklahoma singer-songwriter Kaitlin Butts and her song “You Ain’t Gotta Die (To Be Dead to Me).” Indeed, the darkly funny highlight from Butts’ acclaimed 2024 album Roadrunner has belatedly hit TikTok paydirt, thanks to a couple sounds from it – including the chorus chant, and the spoken-word pre-chorus breakdown (“You know, I think I have heard of that man… I think I heard he got run over by a train, mauled by a bear, maybe? Hopefully”) – catching on with users sharing the reasons they’ve prematurely called a TOD on an ex.
Butts herself has helped accelerate the moment on her own TikTok, sharing some of the more unseemly examples and dueting along with high-profile cosigners like Internet celebrity Brianna Chickenfry and – once again – country star Ella Langley. Consequently, the song has begun to cross over to DSPs, racking up 473,000 official on-demand U.S. streams for the tracking week ending May 29, according to Luminate – a 3,342% gain from two weeks earlier, when the song netted just under 14,000 streams. As the song continues to rise, it just proves that the combination of a good, funny country song and the power of online vindictiveness is never to be underestimated. – AU
The Contenders is a midweek column that looks at artists aiming for the top of the Billboard charts, and the strategies behind their efforts. This week, for the upcoming Billboard 200 dated June 14, we look at a handful of albums likely to impact the top tier of the chart – a couple brand new, and a couple recently revitalized, led by a likely rebound from the biggest pop star in the world.
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Taylor Swift, Reputation (Big Machine): On a day of big new releases, last Friday (May 30) was still dominated by the news that Taylor Swift had officially acquired her own masters. Billboard reported from sources that she paid around $360 million for the acquisition from private equity firm Shamrock Capital, which had acquired the catalog in late 2020 from Scooter Braun’s Ithaca Holdings, after Braun had bought Swift’s old label Big Machine the year before. Braun’s initial purchase, and Swift’s negative reaction to her professional adversary having such a big stake in her history, had of course inspired the entire Taylor’s Version project — which led to Swift re-recording four of her first six albums over the course of 2021-2023, along with a number of period-appropriate rarities. That endeavor not only proved wildly successful for Swift, but played a major part in her 2020s ascension to a level of solo superstardom not seen before this century.
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One of the two Big Machine-era albums she had yet to get to with her Taylor’s Version series was Reputation, the divisive 2017 album that followed both her ultimate pop breakthrough with 2014’s 1989 and the backlash that ensued, particularly after her back-and-forth feuding with Kanye West and Kim Kardashian. Along with the announcement of the acquisition of her masters, Swift also revealed that Reputation (Taylor’s Version) had been the most challenging of the series for her to put together, as she found it difficult to get back into the headspace of that album era — and thus had not even finished re-recording a quarter of it. Fans could infer from her letter that now that Swift’s back catalog was once again her own, she would be unlikely to finish re-recording the rest of it anytime soon.
But while some fans may have been disappointed that they would not get the full Reputation (Taylor’s Version) package anytime soon — which was so long-anticipated that the original album got a consumption bump a couple weeks ago merely based on rumors that she might reveal something about it on the AMAs — most were ready to revisit the original album anyway. With no re-recording imminent, and Swift once again the owner of her back catalog, fans flocked to the original Reputation, resulting in it leaping to the top of the iTunes albums chart, and launching five of its tracks back onto the Spotify Daily Top Songs USA chart for Saturday (May 31).
The major bump in sales and streams, for an album that was still ranking at No. 78 on the Billboard 200 in its 349th week on the chart, could see the album make a major rebound next week. It’s unlikely to supplant Morgan Wallen’s I’m the Problem — but no album is, as Problem posted 286,000 units this week (according to Luminate) in its second week atop the chart, and is likely to still be comfortably in the six figures in its third week, thanks to the 37-track set’s gargantuan streaming numbers. But it could get as high as the top five, maybe even to the runner-up spot, if fan enthusiasm maintains the further we get away from Swift’s Friday announcement. (Swift could also perhaps give sales a boost if she made the album available for sale on her webstore — as of publishing, it was still not listed there.)
Miley Cyrus, Something Beautiful (Columbia): Perhaps Swift’s main competition for the biggest chart-crasher this week is her old Hannah Montana: The Movie co-star Miley Cyrus. The veteran pop superstar returned on Friday with her new LP Something Beautiful, the audio part of a visual album project whose film accompaniment is set to premiere at the Tribeca Film Festival this Friday (June 6).
Something Beautiful follows 2023’s Endless Summer Vacation, and its galactically successful lead single “Flowers,” which became the biggest chart hit of Cyrus’ career and won her her first two Grammys. So far, none of the advance releases from Something Beautiful appear to be on anywhere near a “Flowers” trajectory, however — the only one of them to even reach the Billboard Hot 100 so far was official lead single “End of the World,” which debuted at No. 52 and fell off the chart after just four weeks.
While Something Beautiful is unlikely to be an immediate streaming blockbuster — as of midweek, none of its tracks appear on either the Spotify Daily Top Songs USA or the Apple Music real-time charts — it should sell relatively well. To help with that, the album is available in six different vinyl variants (including an artist webstore-exclusive signed version), as well as standard and signed CDs and two deluxe branded boxed sets with the CD and branded merch. At the very least, the set should extend Miley’s streak of top five albums on the Billboard 200 — which encompasses every one of her official studio releases dating back to 2007’s Meet Miley Cyrus, excepting 2015’s Miley Cyrus & Dead Petz, which was not initially given a commercial release.
SEVENTEEN, SEVENTEEN 5th Album ‘Happy Burstday’ (Pledis/YG Plus): Also aiming for the top five next week is an act with less stateside household-name recognition as Swift and Cyrus, but nearly as much of a presence on the albums chart. SEVENTEEN has reached the Billboard 200’s top 10 six times already in the 2020s, and even gotten as high as No. 2 with two 2023 releases, the EP FML and the mini-album Seventeenth Heaven.
The 13-member group is likely to return to the top 10 next week with its fifth full-length album, Happy Burstday — a 16-track effort that includes contributions from two of the biggest U.S. hitmakers of the early 21st-century in Pharrell and Timbaland. While SEVENTEEN has never been a major force on streaming in the U.S., the group are reliable high-sellers, and Burstday is available for purchase in a whopping 14 CD variants — all of which contain collectible branded paper ephemera, some of which is randomized. It should be enough for Burstday to be a real contender for the Billboard 200’s runner-up spot, along with the Swift and Cyrus sets.
Xavi and Manuel Turizo unite for their first No. 1 together as “En Privado” advances from No. 3 to lead Billboard’s Latin Airplay chart (dated June 7). The song leads with 8.7 million audience impressions, up 27%, earned in the United States during the May 23-29 tracking week, according to Luminate.
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Xavi secures his second No. 1 on the overall Latin Airplay chart as “En Privado” climbs to the penthouse. The Mexican artist first conquered the chart in 2024, when his track “La Diabla” reached No. 1 in just its third week. Meanwhile, the collaboration also propels Turizo back to the summit for a ninth total time. He most recently led the list with “Copa Vacía,” with Shakira, in 2023.
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“En Privado,” released Feb. 5 on Interscope/ICLG, receives strong radio support by three Univision stations, led by KVVF-FM (San Jose), KQMR-FM (Phoenix) and KDXX-FM (Dallas).
Beyond its Latin Airplay coronation, “En Privado” also lands at No. 1 on Tropical Airplay, marking Xavi’s first chart-topper and Turizo’s fourth.
Meanwhile, Natti Natasha’s “Desde Hoy” spends a fourth nonconsecutive week at No. 2 on Latin Airplay (8.3 million in audience, up 11%). The last song to spend at least four weeks at No. 2, without ever going to No. 1, was in July 2017, when Shakira’s “Me Enamoré” spent its fifth and final nonconsecutive week at No. 2.
However, the most recent song to spend at least four weeks at No. 2 — only to later to go on to No. 1 — was Shakira’s “Soltera,” which spent seven nonconsecutive weeks at No. 2 before it climbed to No. 1, for one week, on the Jan. 4, 2025-dated chart.
Luis Figueroa Breaks into the Top 10 on Tropical Airplay
Elsewhere on Tropical Airplay, Luis Figueroa secures a spot in the top 10 with “Más Que Un Beso” as the song jumps 12-10 with 3 million audience impressions (up 22%).
As “Más Que Un Beso” ascends, Figueroa surpasses Marc Anthony to claim ownership of the third-most top 10s in the 2020s, with a total of 11. He trails only Prince Royce, who leads with 14 top 10s this decade, and Romeo Santos, who holds 12.
The song, the first single from Figueroa’s new album GRIS, also debuts at No. 47 on the Latin Airplay chart, where Figueroa earns his 10th career entry.
After each individually holding the record, Kendrick Lamar and SZA combine forces to claim the longest-running No. 1 on Billboard’s Hot R&B/Hip-Hop Songs chart as their collaboration “Luther” reaches an unprecedented 23rd week at the top. The crowning feat, on the list dated June 7, dates to the chart becoming the singular standard genre survey […]
