Chart Beat
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Number_i’s “GOD_i” rules this week’s Billboard Japan Hot 100, dated Feb. 5.
After dropping Jan. 27, the latest single by the three-man group produced by member Yuta Kishi hit No. 1 for downloads, video views, and radio airplay, while coming in at No. 16 for streaming. The track launched with 60,058 downloads, which is second-most for the group following the top first-week figure for “GOAT” (64,321 units). Other songs by the trio have climbed this week due to the new single’s release, with “BON” rising 87-86 and “INZM” 97-91.
Mrs. GREEN APPLE’s “Darling” holds at No. 2. Streams for the new single by the three-man band are up to 102% week-over-week, rising a notch to No. 1, and the track also hits No. 5 for downloads, No. 2 for radio, and No. 3 for video. “Lilac” by the hitmakers follows at No. 3 on the Japan Hot 100, and while points for the former No. 1 song have been on the decline after peaking on the Jan. 15 chart, the song has coasted along in the top 5 for over 9 months since hitting No. 3 on the chart dated Apr. 24 last year.
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Kenshi Yonezu’s “BOW AND ARROW” debuts at No. 4. The theme song for the anime series Medalist was downloaded 29,132 times to hit No. 2 for the metric, while coming in at No. 7 for streaming, No. 8 for radio, and No. 19 for video.
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Hinatazaka46’s “Sotsugyo shashin dake ga shitteiru” bows at No. 6 with 496,191 CDs sold in its first week (No. 1 for the metric), while BEYOOOOONDS’s “Do-Did-Done” also charts for the first time at No. 7 with 99,460 CDs sold (No. 2 for the metric).
Notable chart moves outside the top 10 include Gen Hoshino’s first new single in a year called “Eureka” hitting No. 11 and Creepy Nuts’ “doppelgänger” jumping 56-23. The brand-new girl group HANA, born from the audition project No No Girls, launches at No. 36 with its pre-debut track “Drop.” The track hit No. 6 for downloads and No. 54 for streaming.
The Billboard Japan Hot 100 combines physical and digital sales, audio streams, radio airplay, video views and karaoke data.
See the full Billboard Japan Hot 100 chart, tallying the week from Jan. 27 to Feb. 2, here (https://www.billboard.com/charts/japan-hot-100/). For more on Japanese music and charts, visit Billboard Japan’s English Twitter account (https://twitter.com/BillboardJP_ENG).
It’s the fifth week of 2025, and Argentinians La T y La M and Malandro de America have held strong atop the Billboard Argentina Hot 100 as their first collab, “Amor De Vago,” adds a fifth week at No. 1 on the chart dated Feb. 08. Explore Explore See latest videos, charts and news See […]
Both Lil Wayne and Drake earn their first No. 1s on the TikTok Billboard Top 50 chart as Lil Wayne’s “She Will,” which features Drake, jumps 4-1 on the Feb. 8-dated tally.
The TikTok Billboard Top 50 is a weekly ranking of the most popular songs on TikTok in the United States based on creations, video views and user engagement. The latest chart reflects activity accumulated Jan. 27-Feb. 2. Activity on TikTok is not included in Billboard charts except for the TikTok Billboard Top 50.
“She Will,” which was originally released in 2011 on Lil Wayne’s album Tha Carter IV, has exceled on TikTok thanks to a dance trend that features creators performing leg-shaking moves, often up against a wall of some sort.
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Usages of the song generally highlight the “Ladies and gentlemen, Drizzy” lyric before the outro, though the most utilized sound then drops out the vocals in favor of the synth-led instrumental.
Drake previously reached No. 2 on the chart twice: on his “IDGAF” featuring Yeat in 2023, and on the Sexyy Red collaboration “U My Everything” last year. As for Lil Wayne, “She Will” is his second top 10, following the No. 9 peak of Tyler, the Creator’s “Sticky,” on which he’s featured alongside GloRilla and Sexyy Red.
“She Will” debuted and peaked at No. 3 on the Billboard Hot 100 in September 2011. In the Billboard tracking week ending Jan. 30, the song earned 5.4 million official U.S. streams, up 30%, according to Luminate.
Lil Wayne and Drake’s coronation isn’t the only thing happening in the TikTok Billboard Top 50’s top 10 this week. Former No. 1 Stepz’s “Rock” rebounds 8-2, while 5 Seconds of Summer’s “She Looks So Perfect” is the week’s top debut at No. 3.
“She Looks So Perfect,” which peaked at No. 24 on the Hot 100 in 2014 as 5 Seconds of Summer’s breakout song, benefits from a TikTok trend in which users respond to the hypothetical compliment “you’re so funny,” often with the creator responding by talking about trauma that made them that way – so much so that 5 Seconds of Summer’s Michael Clifford reacted to the trend with a video captioned, “’you’re so funny’ thanks our song is now the theme song for trauma bonding.”
The song sports a 31% gain in the week ending Jan. 30 to 1.4 million streams.
Former No. 1 “Champagne Coast” by Blood Orange also returns to the top five, leaping 7-4, while 7dnight’s “Khong Sao Ca” vaults 24-5 in its second week on the chart. Featured on the Vietnamese music competition show Rap Viet and released in November 2024, “Khong Sao Ca” rises via a dance trend, while some top-performing clips also highlight pets and stuffed animals.
Earth, Wind & Fire’s classic “Let’s Groove” shoots 11-6, marking the group’s second top 10 after “September” in 2023. As the title and song’s general vibe suggests, its rise is made up mostly of dance videos, some following a specific trend and others simply featuring the dancer showing off their best moves.
“Let’s Groove” peaked at No. 3 on the Hot 100 in 1981 and accumulated 2.3 million streams in the latest tracking period, up 17%.
The other newcomer to the TikTok Billboard Top 50’s top 10 is Fetty Wap’s “Again,” which debuts at No. 8 a week after his “Jimmy Choo” appeared on the ranking at No. 9. Many of the videos reference listening to the song on JBL speakers and setting it to TV and movie scenes, alongside dances, lip-synchs and more.
“Again,” which peaked at No. 33 on the Hot 100 in 2015, is up 250% in streams to 4.8 million in the Jan. 24-30 tracking week.
See the full TikTok Billboard Top 50 here. You can also tune in each Friday to SiriusXM’s TikTok Radio (channel 4) to hear the premiere of the chart’s top 10 countdown at 3 p.m. ET, with reruns heard throughout the week.
What were some of the most notable trends among No. 1 hits on the Billboard Hot 100 songs chart during 2024? Hit Songs Deconstructed, which provides compositional analytics for top 10 Hot 100 hits, has released its 2024 No. 1 Hit Focus report.
Here are three takeaways from Hit Songs Deconstructed’s latest in-depth research.
Hip-Hop/Rap Rose
Hot 100 No. 1s were represented by six primary genres in 2024, according to Hit Songs Deconstructed. Hip-hop/rap led for the first time since 2018 with a 38% share. Country followed at a one-quarter take and pop rounded out the top three with just under a one-fifth share.
The report also notes that hip-hop/rap’s share of Hot 100 No. 1s more than doubled from 2023 to 2024. Kendrick Lamar led the genre with two chart-toppers: “Not Like Us” and “Squabble Up.”
Meanwhile, country remained strong among Hot 100 No. 1s last year as a primary genre. Notes Hit Songs Deconstructed: “After rising from 0% to 24% in 2023, country’s share of No. 1s held steady in 2024 with one-quarter of songs.” Shaboozey’s “A Bar Song (Tipsy)” was the longest-leading such smash in 2024, running up a record-tying 19 weeks at No. 1.
‘80s in the ‘20s
Along with six primary genres, “17 diverse subgenres and influences shaped the sound and vibe of 2024’s No. 1 hits” on the Hot 100, according to Hit Songs Deconstructed’s report. “Pop’s influence was particularly prominent, appearing in three-quarter of songs. Hip-hop/rap followed at 38% and retro influences in general rounded out the top three at 38%.”
Notably, “The 1980s continued to be the retro decade of choice,” per Hit Songs Deconstructed’s findings about subgenres’ influences on Hot 100 No. 1s, heard in such as hits as “Squabble Up,” Taylor Swift’s “Fortnight” featuring Post Malone, and Ariana Grande’s “We Can’t Be Friends (Wait for Your Love).”
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Also among subgenres’ influences on Hot 100 No. 1s in 2024, “Country’s rose to nearly one-third of songs in 2024,” per Hit Songs Deconstructed. “All stemmed from the country primary genre except for Sabrina Carpenter’s country-influenced pop smash ‘Please Please Please.’”
Plus, dance/club’s subgenre influence “rose slightly to one-quarter of songs” atop the Hot 100 in 2024. Among them: Jack Harlow’s “Lovin on Me,” Beyoncé’s “Texas Hold ‘Em” and Grande’s “We Can’t Be Friends” and “Yes, And?”
More Choruses, But Later & Longer No. 1s
“The average amount of time it takes for No. 1 hits to get to the first chorus has been increasing since 2021, rising from 33 seconds to 45 seconds in 2024,” Hit Songs Deconstructed reports.
The 0:40-0:59 range for a first chorus tripled from 18% of Hot 100 No. 1s in 2023 to 44% in 2024. Plus, a quarter of choruses in No. 1s occurred after the 1-minute mark, spanning genres from R&B/hip-hop (Lamar’s “Not Like Us” and Future, Metro Boomin and Lamar’s “Like That”) to rock (Hozier’s “Too Sweet”) and dance/club (Grande’s “Yes, And?”)
Also noteworthy, “The majority of No. 1s – 69% – had three choruses in their framework” in 2024, per Hit Songs Deconstructed. That share has more than tripled from 2022 (31%). Conversely, songs with two choruses have fallen from 46% to 29% to 19% among Hot 100 leaders since 2022.
Overall, Hit Songs Deconstructed notes, the average length of 2024’s Hot 100 No. 1 was 3:30, eight seconds longer than the 2023 average. The 4-minute-plus range has “generally been on the rise since 2019, increasing from 0% to 25% of songs. Its representatives were all hip-hop/rap songs except for Hozier’s “Too Sweet.’ ”
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: The Grammys make big winners on streaming out of both long-established legends and rising stars, while Fetty Wap scores his biggest hit in a decade with a song from a decade ago and Severance dips its toes into big rock synchs.
Biggest Grammys Gainers: ‘Cowboy Carter,’ ‘Von Dutch’ and All Things Doechii
The 67th Annual Grammy Awards ended with history being made: Beyoncé at long last won the album of the year award, as her country crossover Cowboy Carter finally earned the most Grammy-nominated and Grammy-winning artist in history the top prize of the ceremony. The magnitude of that victory is still being put into context days later, but one thing was for certain: Cowboy Carter was going to see a major uptick in streaming activity immediately after the Grammys, with unfamiliar viewers perusing the album and longtime fans revisiting it nearly a year after its release.
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On Jan. 26, the Monday before the Grammys, Cowboy Carter earned 1.07 million U.S. on-demand audio streams, according to Luminate. On the Monday after the Grammys (Feb. 3), however, that daily total shot to 7.50 million — a 595% increase. As for the rest of the Big Four, Kendrick Lamar’s “Not Like Us” was up 74% in daily streams (from 1.37 million on Jan. 26 to 2.4 million on Feb. 3) following its wins for record of the year and song of the year, while Chappell Roan’s catalog rose 50% (from 5.96 million streams on Jan. 26 to 8.99 million streams on Feb. 3) thanks in part to her best new artist victory.
Roan’s “Pink Pony Club” — which received a brightly colored, rodeo clown-filled performance showcase — naturally earned an even bigger bump, rising 109% (851,000 daily streams to 1.77 million) during that span. Other notable gainers thanks to performances included Charli XCX’s “Von Dutch,” which zoomed from 183,000 daily streams to 423,000 (up 130%) following her raucous performance to close out the ceremony; Raye’s “Oscar Winning Tears,” which jumped from 216,000 daily streams to 334,000 (up 54%) thanks to the British artist’s vocal pyrotechnics, and Doechii’s eye-popping medley, which constituted the best performance of the ceremony, helped “Catfish” leap from 210,000 daily streams to 658,000 (up 213%) and “Denial is a River” move from 1.08 million daily streams to 2.08 million (up 93%).
In addition to her performance, Doechii also delivered a moving acceptance speech following her win for best rap album with Alligator Bites Never Heal — a breakthrough moment, which helped her entire catalog soar from 2.84 million daily streams to 8.01 million (up 182%). – JASON LIPSHUTZ
Fetty Wap Is Hot ‘Again’ Thanks to Slightly Confusing Viral Trend
10 years after the New Jersey rapper took the world by storm with hits like “Trap Queen,” “My Way” and “679,” Fetty Wap is hot again – and the conversation is all around his aptly titled 2015 Billboard Hot 100 top 40 hit “Again” (No. 33).
Centered around the phrase “blasting Fetty Wap on the JBL speaker,” the joke of the meme is playing he rapper’s songs at particularly inappropriate moments via the JBL. At the top of the new year (Jan. 9), one user used “Again” in a video captioned “How do you think the pilgrims would react if I pulled up to the Mayflower with my JBL speaker and introduced them to Fetty Wap?”; that post currently has over 3.6 million views and a reply from the official History Channel TikTok account. More history–minded posts followed, and near the end of the month (Jan. 24), the trend evolved past historical settings. One user used the official “Again” sound to make a World War III quip, while another used it to make a joke about blasting the track at a friend’s funeral.
According to Luminate, “Again” earned over 4.77 million official on-demand U.S. streams last week (Jan. 24-30). That’s a 265% increase in streaming activity from the 1.3 millin streams it pulled the week prior (Jan. 17-23). Last weekend (Jan. 24-27), the song posted a 387% jump to 6.69 million streams versus the 1.37 million it logged the weekend prior (Jan. 31-Feb. 3). Currently, the official “Again” sound boasts over 250,000 posts. Fetty Wap may unfortunately still be incarcerated, but clearly a comeback isn’t entirely out of the question. — KYLE DENIS
The Who and Stone Roses Jams Get ‘Severance’ Bump
The first season and a quarter of Apple TV’s sci-fi workplace drama Severance has been relatively light on high-profile synchs – but thank Kier, the show is starting to break out the big guns midway through its second season. The third episode of Season Two, “Who Is Alive?,” is bookended with a pair of songs used in big spots: The Stone Roses’ mid-’90s alt-rock hit “Love Spreads” soundtracks a road journey for the (maybe?) villainous Ms. Cobel (Patricia Arquette) to start the show, while the ep ends with The Who’s early-’80s AOR staple “Eminence Front” punctuating a breakthrough moment for protagonist Mark S (Adam Scott).
The synchs haven’t resulted in Stranger Things-sized gains yet for the songs in question, but both saw big bumps following their S2E03 appearance in the hit show. “Love Spreads” racked up a combined 33,000 U.S. on-demand audio streams over the first four days of this tracking week – with the episode premiering on the first day, Friday (Feb. 20) – a gain of 78% over the same period the week prior, according to Luminate. “Eminence Front” was also up 27% to 326,000 over the same time span, while the two songs combined to sell nearly 400 copies after selling under 100 the week before. If Severance keeps up with the inspired synch choices, maybe it’ll be producing legitimately viral hits by the time Mark completes the Cold Harbor project. – ANDREW UNTERBERGER
Yung Bredda Heats Up the Winter with Soca Smash
Between Machel Monatano’s historic NPR Tiny desk set and Yung Bredda’s infectious new hit, soca is having a beautiful start to 2025. Trinidadian soca star Yung Bredda’s “The Greatest Bend Over” — a sweet ode to the woman with “di wickedest bend over” — arrived late last year on Full Blown’s “Big Links” riddim (Dec. 2). The song has quickly become one of the most dominant current hits across the Caribbean with carnival season still to come. Soca is a bit more of a nice genre in the U.S., but “The Greatest Bend Over” is still finding some traction.
During the period of Dec. 13-19, Yung Bredda’s track earned just over 35,000 official on-demand U.S. streams. A little over a month later (Jan. 24-30), the song’s streaming exploded by a whopping 940% to over 367,000 streams. On TikTok, the song’s official sound plays in over 34,400 posts – a number that’s sure to grow as the song continues to enchant different parts of the globe.
Vybz Kartel’s comeback may be giving dancehall all the airtime, but pay attention to the soca scene too! — KD
It’s been only two weeks since Karol G entered the record books with an unmatched 26 weeks at No. 1 on Billboard’s Latin Airplay chart with “Si Antes Te Hubiera Conocido.” Now, the Colombian superstar is setting yet another new record over on the Tropical Airplay chart (dated Feb. 8).
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“Si Antes Te Hubiera Conocido” adds a 30th week at No. 1 on the tropical radio ranking, marking the most weeks atop 30-year-old chart for any song.
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“Si Antes,” released June 21, 2024 via Bichota/Interscope/ICLG, reaches the record despite a 7% decline in audience impressions; that’s 8.8 million earned in the U.S. during the tracking week of Jan. 24-30, according to Luminate.
With 30 weeks at No. 1, Karol ends a historic run for Prince Royce, who previously commanded the chart for 29 weeks when “Carita De Inocente” capped its reign on the October 17, 2020-dated ranking.
As “Si Antes” resets the longest-leading run on Tropical Airplay, here’s a review of the songs with the most weeks atop, since the chart launched in October 1994.
Weeks at No. 1, Title, Artist, Peak Date30, “Si Antes Te Hubiera Conocido,” Karol G, July 20, 202429, “Carita de Inocente,” Prince Royce, March 28, 202022, “De Vuelta Pa’ La Vuelta,” Daddy Yankee & Marc Anthony, Jan. 2, 202118, “Inmortal,” Aventura, April 20, 201918, “Danza Kuduro,” Don Omar & Lucenzo, Nov. 13, 201015, “Bailando Bachata,” Chayanne, August 5, 202315, “La Mejor Versión de Mi,” Natti Natasha & Romeo Santos, Oct. 26, 201915, “Centavito,” Romeo Santos, Oct. 13, 201815, “Dile Al Amor,” Aventura, Jan. 2, 201015, “Perdidos,” Monchy & Alexandra, Nov. 6, 2004
Elsewhere, “Si Antes” cedes the throne to Bad Bunny’s “El Clúb” on the overall Latin Airplay chart, after a record-extending 27 weeks at No. 1.
Singer-songwriter Crowder ascends to No. 1 on Billboard’s Christian AC Airplay chart (dated Feb. 8) with “Somebody Prayed.” During the Jan. 24-30 tracking week, the single advanced by 3% in plays among the ranking’s reporting panel of stations, according to Luminate. Meanwhile, on the genre’s overall Christian Airplay chart, “Somebody Prayed” holds at its No. […]
Teddy Swims scores his first No. 1 on Billboard’s Top Album Sales chart (dated Feb. 8) as his latest album, I’ve Tried Everything But Therapy (Part 2) debuts atop the list with 26,000 sold in the U.S. in the week ending Jan. 30, according to Luminate. That marks Swims’ best sales week yet and first top 10, following three previous entries.
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Also shaking up the top 10: Kane Brown, FKA twigs and Central Cee all see their latest albums debut in the region, while blink-182’s chart-topping One More Time… reenters at No. 4 after a deluxe reissue.
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.
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Of Swims’ first-week sales, physical purchases comprise 19,000 (with 12,000 on CD and 7,000 on vinyl) and digital download purchases comprise 7,000. The set’s sales were bolstered by its availability across eight vinyl variants (including a signed edition), and two CD variants (including a signed edition). The effort also debuts at No. 1 on the Vinyl Albums chart, as well as No. 5 on the Indie Store Album Sales chart.
Kane Brown lands his fifth top 10-charting effort on Top Album Sales as The High Road drives in at No. 2 with 19,000 sold in its first week. The album’s first-week sales were aided by its availability across nine vinyl variants (including a signed edition), four CD variants (including a signed edition), and three digital download variants (a standard version, plus two with alternative cover art). On the Vinyl Albums chart, the set enters at No. 9.
FKA twigs notches her biggest sales week ever and first top 10, as Eusexua enters at No. 3 on Top Album Sales with nearly 12,500 sold. It also launches at No. 3 on Vinyl Albums and No. 2 on Indie Store Album Sales. The album’s opening-week sales were aided by its availability across six vinyl variants, signed and unsigned CDs, a cassette and two digital download variants (one an artist webstore exclusive with a bonus track).
Blink-182’s chart-topping One More Time… reenters Top Album Sales at No. 4 with a little over 11,000 sold (up 9,089%), following the set’s deluxe reissue on two vinyl variants and CD with additional bonus tracks. U.K. rapper Central Cee makes his Top Album Sales chart debut with the No. 5 entry of his new studio album Can’t Rush Greatness (nearly 10,000 sold).
Mac Miller’s Balloonerism falls 1-6 in its second week on Top Album Sales (9,000; down 78%), the Wicked film soundtrack dips 3-7 (nearly 9,000; down 8%), Stray Kids’ chart-topping HOP falls 4-8 (just over 8,000; down 9%), Gracie Abrams’ The Secret of Us falls 2-9 (8,000; down 62%) and Chappell Roan’s The Rise and Fall of a Midwest Princess falls 5-10 (7,000; down 11%).
Fresh off a Grammy sweep for “Not Like Us,” which won all five of its nominations, Kendrick Lamar piles on another win as his single “TV Off,” featuring Lefty Gunplay, darts to No. 1 on Billboard’s Rhythmic Airplay chart dated Feb. 8. The track jumps from No. 3 to crown the list after a 12% surge in plays that made it the most-played tune on U.S. panel-contributing monitored rhythmic radio stations in the tracking week of Jan. 24 – 30, according to Luminate.
“TV Off” detaches Tyler, The Creator’s “Sticky,” featuring GloRilla, Sexyy Red and Lil Wayne, from the Rhythmic Airplay summit after the latter’s one week in charge. Last week’s champ drops to No. 2 after a 2% decline in plays for the week.
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With “TV Off,” Kendrick Lamar achieves his eighth Rhythmic Airplay No. 1 and second of 2025, after “Squabble Up” ruled for two weeks in January. Here’s the updated review of his chart-topping collection on the radio ranking:
“Humble.,” three weeks at No. 1, beginning June 6, 2017“Loyalty.,” featuring Rihanna one, Sept. 30, 2017“Love.,” featuring Zacari, one, Dec. 30, 2017“Pray for Me,” with The Weeknd, two, April 18, 2018“Like That,” with Future and Metro Boomin, four, May 18, 2024“Not Like Us,” 12, June 15, 2024“Squabble Up,” two, Jan. 18, 2025“TV Off,” featuring Lefty Gunplay, one, Feb. 8, 2025
Featured artist Lefty Gunplay earns his first Rhythmic Airplay No. 1 through his maiden entry on the chart. The rapper is one of several California-bred rappers with supporting spots on GNX, Lamar’s 2024 album that includes “TV Off” and “Squabble Up.”
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Beyond the No. 1 title, Kendrick Lamar claims plenty more prime real estate on Rhythmic Airplay. The previous champ “Squabble Up” slides 2-3, while “Luther,” a collaboration with SZA, leaps 9-4 with a 12% improvement in plays. With the trio, Lamar is the first act — in a lead role — to have three of the top five concurrently on the Rhythmic Airplay chart. In total, five acts, including Lamar this week, have had three of the top five at the same time, but the other four – Ashanti, 50 Cent, T-Pain and Drake – all needed a combination of songs in both lead and featured billings.
Moreover, the Pulitzer Prize-winning Lamar enjoys a fourth appearance in the week’s top 10 – for a second week in a row – with a different collaboration with SZA, “30 for 30,” which repeats at its No. 10 peak. A week ago, he became the fifth act to have four of the top 10 titles concurrently, and the first ever with four of the top 10 in a lead role. The only other acts to claim four of the top 10 at the same time are 50 Cent, T-Pain, Lil Wayne and Drake.
While “TV Off,” “Squabble Up” and “Luther” all appear on Lamar’s GNX, “30 for 30” is from SZA’s SOS Deluxe: LANA edition of her chart-topping album.
Elsewhere, “TV Off” holds at its No. 10 best on the Mainstream R&B/Hip-Hop Airplay chart (up 3% in weekly plays) and slides 2-3 from its peak on Rap Airplay, though it added 7% in weekly audience listenership. On the all-genre Radio Songs chart, “TV Off” lands a third nonconsecutive week at its No. 30 high, with an 8% boost to 21 million audience impressions across all formats.
Bad Bunny adds his 26th No. 1 on Billboard’s Latin Airplay chart with “El Clúb,” which lifts 2-1 to lead the Feb. 8-dated ranking. It’s the first song from Debí Tirar Más Fotos to top the overall radio ranking. “El Clúb” reigns after a 5% gain in audience impressions, to 9.2 million, earned in the […]