Chart Beat
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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: A surprise Kendrick Lamar album is good news for (almost) everyone, the original Wicked cast album keeps rising as the new movie soundtrack also becomes a huge hit and OMB Peezy scores a new-old viral hit.
Kendrick Lamar’s ‘GNX’ Sends Sampled Songs By Luther Vandross, SWV & More Streaming
In the least shocking news of the week, GNX, the surprise new album by Kendrick Lamar, has gotten off to a scorching start on streaming services after dropping out of the sky last Friday (Nov. 22). Through its first four days, GNX earned an eye-popping 242.3 million official on-demand U.S. streams, according to Luminate — never falling below 50 million daily streams through Monday. And the new album is also boosting Lamar’s back catalog aside from GNX, which earned 44.6 million streams from Nov. 22-25, a 10% increase from the same four-day period during the previous week.
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Meanwhile, some of the songs sampled across GNX have also enjoyed streaming gains, as listeners peruse the older material that was revived on Lamar’s new LP. With “Squabble Up” eyeing a major debut on the Hot 100 next week, for instance, “When I Hear Music,” the iconic 1984 electro single from Debbie Deb that’s prominently featured in the production, scored a huge boost: 225,000 streams from Nov. 22-25, up 76% from its total from Nov. 15-18 (127,000 streams).
Elsewhere, Luther Vandross’ version of “If This World Were Mine,” which serves as the connective tissue of Lamar’s new SZA collaboration “Luther,” more than doubled its streams from the weekend before GNX arrived (79,000 streams from Nov. 15-18) to last weekend (164,000 streams from Nov. 22-25). And SWV’s 1996 hit “Use Your Heart,” which gets flipped on “Heart Pt. 6,” was also up 25% in streams during those same periods, from 379,000 to 476,000 streams. – JASON LIPSHUTZ
After Bewitching the Global Box Office, Ariana Grande & Cyntha Erivo’s Wicked Soundtrack Soars on Streaming
Wicked – the Jon M. Chu-helmed film adaptation of the 2003 hit Broadway musical – debuted atop the domestic box office with the biggest opening weekend for a Broadway musical adaptation in history ($114 million). The film grossed $164.2 million globally in its first weekend (Nov. 22-25), with strong word of mouth and rave reviews going into Thanksgiving weekend.
Starring Cynthia Erivo (Elphaba) and Ariana Grande (Galinda), Wicked was already spurring streaming increases for the Broadway cast recording before it even hit theaters. In the weekend preceding the film’s release (Nov. 15-18) the original Wicked Broadway cast recording pulled 6.6 million official on-demand U.S. streams, according to Luminate. That number rose by 109% to 13.8 million streams during the film’s opening weekend (Nov. 22-25).
Of course, a new adaptation of Wicked means new interpretations of Stephen Schwartz’s timeless music. Alongside Erivo and Grande, fellow cast members Jonathan Bailey, Jeff Goldblum, Ethan Slater, Peter Dinklage and Michelle Yeoh all lend their voices to the soundtrack. “Defying Gravity,” the song that closes the first act of the musical, is easily the most widely known Wicked song, hence the impressive early performance of Erivo and Grande’s version. Streams for their “Gravity” take remained above one million, increasing with each passing day of the film’s opening weekend. On Monday (Nov. 25), the rousing duet collected 1.8 million official on-demand U.S. streams, marking a 30% increase in streaming activity from the day prior.
The entire new Wicked soundtrack has performed similarly; the set has remained above 7.7 million official on-demand U.S. streams each day since its Nov. 22 release. Monday (Nov. 25) marked the soundtrack’s biggest streaming day so far with over 10.43 million streams earned – a 34% boost from its Sunday streaming total (7.77 million).
As Wicked continues to enrapture audiences, expect the soundtrack to perform strongly as the film barrels towards the Oscars stage next March.
Dance Trend Spurs Revival OMB Peezy’s Seven-Year-Old OG Breakout Song
Back in 2017, Alabama-born, Cali-based rapper OMB Peezy started making major waves as his “Lay Down” single gained traction across the country. Seven years later, a TikTok dance trend has given the song a new life.
On Nov. 7, TikTok user @rahdboss posted a clip of himself living his best video vixen life and dancing to “Lay Down.” In the following weeks, the clip amassed over 4.8 million views and over half a million likes; the user’s moves quickly captured the attention of other TikTokers, and hundreds of similar videos began to populate the official “Lay Down” TikTok sound, which now boasts nearly 56,000 posts.
During the first week of the month (Nov. 1-7), “Lay Down” earned over 95,000 official on-demand U.S. streams, according to Luminate. That number exploded by 329% to over 408,000 streams earned during the following week (Nov. 8-14). Last week (Nov. 15-21), that figure once again rose, this time by 142% to over 987,000 official on-demand U.S. streams. Over the past two weeks, “Lay Down” has jumped nearly 940% of streaming activity a whopping seven years post-release. A fire track will always find its audience!
Q&A: Chris Jordan, Music Agent at UTA, on What’s Trending Up in His World
As we approach the end of 2024, what has been your main takeaway from the hip-hop live space this year?
The days of mediocrity are over — fans are paying closer attention to where they spend their money, raising their expectations for high-quality live events.
How would you describe the evolution of hip-hop festivals (and the presence of hip-hop at all-genre festivals) this year?
Hip-hop festivals were once limited, with few options available. However, in recent years, they have grown significantly in both number of festivals and size. They even compete with mainstream festivals in terms of acts, talent bookings, and ticket grosses. As a result, mainstream festivals have started paying more attention, curating a certain percentage of their bookings of hip-hop artists.
Which artist that you work with do you expect to have a breakthrough 2025 as a live performer?
Fortunately, I have an eclectic roster of amazing artists. I feel that all of my artists are going to put forth great material to then be able to create a great tour. With that said, I feel that Jordan Ward is set to have a tremendous 2025.
Fill in the blank: the hip-hop touring industry needs to think more about _________.
Mental health in relation to the conditions of being on the road can be a strenuous and tenuous challenge. Artists, touring teams, and production staff are often away from their loved ones for long periods, which can lead to unhealthy mental states for everyone involved. This is an issue we cannot afford to ignore. – J.L.
Jessi Uribe is back atop Billboard’s Regional Mexican Airplay chart as “Si Ya Me Voy” jumps 2-1 to lead the Nov. 30-dated list. The single, written in collaboration with Joss Favela, is his first champ as a soloist, and second overall.
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“Being No. 1 on Regional Mexican Airplay is a dream,” Uribe tells Billboard. “I let life surprise me. I am a man of short dreams and let in these gifts from God. It’s also a gift from all my fans.”
For the Nov. 15-21 tracking week, “Si Ya Me Voy,” released via Mano de Obra, earned 6.5 million audience impressions in the U.S., according to Luminate, down 6% from the week prior. Despite that dip in impressions, the single still registered enough audience to land atop Regional Mexican Airplay. It sends Eden Muñoz’s “Traigo Saldo y Ganas de Rogar” to No. 3, after the latter’s one-week reign, with a 20% decline, to 6.1 million impressions.
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“Si Ya Me Voy” becomes Uribe’s first single as a soloist, unaccompanied by any other act. The singer-songwriter scored his first ruler when “Si Ya Hiciste Mal,” with Luis R. Conriquez, ruled for one week in November 2022. It marked his first No. 1 on any Billboard chart.
“I know there are people that are just discovering my music, learning about this guy who sings of heartbreak and love. Grateful for my team, for all of those who listen to my music and request my songs to radio. Thank you from the bottom of my heart, I am here for you. How I always say, ‘¡repítelo!’”
Previously, “Te La Debo,” with Edwin Luna y La Trakalosa de Monterrey, took the Colombian to a No. 5 high in July. In sum, with the new champ, Uribe has placed five top 10s, encompassing his complete Regional Mexican Airplay career.
Further, Uribe becomes just the fifth soloist to secure a No. 1 on Regional Mexican Airplay in 2024. He follows Eden Muñoz and Xavi, who both placed three champs, Pepe Aguilar, two, and Gerardo Ortiz, one No. 1 this year.
Beyond the new No. 1, “Si Ya Me Voy” holds steady at its No. 5 high on the overall Latin Airplay chart, continuing as Uribe’s highest charting song to date.
In addition to the new No. 1, Uribe is celebrating his recent Grammy award nomination for best música Mexicana album.
Rosé & Bruno Mars’ “APT.” stays at No. 1 for a second week on the Billboard Japan Hot 100, making chart history as the only song by a Western act to score multiple weeks atop the Japan song chart.
On the chart dated Nov. 27, the pop-punk duet sees an increase in downloads, streaming, radio airplay and video views, with radio in particular increasing by 2.3 times compared to the week before perhaps due to the buzz surrounding the 2024 MAMA Awards. The track rules streaming and radio this week, while also hitting No. 2 for video and No. 6 for downloads.
Creepy Nuts’ “Otonoke” follows at No. 2. While the points for the Dandadan opener have decreased overall, karaoke is up to 125% week-over-week. The hip-hop hit has held in the top 5 for 7 consecutive weeks.
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timelesz’ “because” debuts at No. 3. This is the title track off the group’s first single under this name and also the last as a trio. The group’s 27th single launched with 277,505 copies to rule physical sales, and also came in at No. 18 for radio.
Mrs. GREEN APPLE’s “Lilac” moves 5-4. Streaming for the Oblivion Battery opener has gained 104%, radio 201%, and video 106% compared to the week before.
Kenshi Yonezu’s “Azalea” bows at No. 5 this week. The theme song for the Netflix series Beyond Goodbye was released digitally Nov. 18 and debuted at No. 1 for downloads, No. 14 for streaming, No. 5 for radio, and No. 13 for video.
This week’s chart is the last for 2024; the new chart year begins next week. The year-end charts for 2024 will be released Dec. 6 at 4:00 am Japan time.
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 Nov. 18 to 24, here. For more on Japanese music and charts, visit Billboard Japan’s English X account.
After a seven-week reign for Yeah Yeah Yeahs’ “Maps” on the TikTok Billboard Top 50 chart, there’s a new No. 1, as GloRilla and Sexyy Red’s “Whatchu Kno About Me” vaults to the top of the Nov. 30-dated list.
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The TikTok Billboard Top 50 is a weekly ranking of the most popular songs on TikTok in the United States based on creations, video views and user engagement. The latest chart reflects activity from Nov. 18-24. Activity on TikTok is not included in Billboard charts except for the TikTok Billboard Top 50.
“Whatchu Kno About Me” leads a slew of songs new to the top 10 of the TikTok Billboard Top 50, some of which are chart debuts. The GloRilla and Sexyy Red collaboration has a lengthier history on the tally, ruling in its sixth week after debuting at No. 39 on the Oct. 26 ranking. It had never even been in the top 20 before the latest chart, with its best having been No. 24 on the survey dated Nov. 23.
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So, why now? Though “Whatchu Kno About Me” initially benefited from uploads by high-profile stars such as Taylor Swift, the song’s rapid ascent is thanks to a trend highlighting GloRilla’s “B—h, I’m from Memphis, what you know about me/ Big G-L-O in that GLE” lyric, usually set to lip synchs.
GloRilla earns her first No. 1 on the TikTok Billboard Top 50, which began in September 2023; among eight appearances, her previous best had been a No. 17 peak with “Hollon” earlier this month. Sexyy Red, meanwhile, has her second ruler, as “SkeeYee” was the ranking’s inaugural No. 1 (though she had found success since, paced by the No. 2 peak of “U My Everything,” with Drake, in June.
Concurrently, “Whatchu Kno About Me” jumps 27% in official U.S. streams to 15.3 million in the week ending Nov. 21, according to Luminate. It leaps 26-17 on the multimetric Billboard Hot 100, its first time in the chart’s top 20.
Stepz’s “Rock” makes an even more sizable jump on the TikTok Billboard Top 50, vaulting 43-2 after previously enjoying a best of No. 29 on the Nov. 9 list. “Rock,” which represents Danish rapper Stepz’s first appearance on a U.S.-based Billboard chart, has had a dance challenge attached to it since October (the month it was released).
Though it’s yet to make a chart outside of the TikTok Billboard Top 50, “Rock” has been a steady climber as of late; in the week ending Nov. 21, it earned 1.1 million official U.S. streams, up 4%.
A pair of debuts round out the top four: Gia Margaret’s “Hinoki Wood” enters at No. 3 as her first TikTok Billboard Top 50 appearance, while Nicki Minaj’s “Anaconda” bows at No. 4.
“Hinoki Wood,” released by singer/pianist Margaret in 2023, is the soundtrack to the “chill guy” trend, with a filter that asks if the creator is a chill guy and asks them to choose between a series of prompts (relationship vs. no relationship, walk vs. run, etc.) before providing its determination. Other times, the “chill guy dog” in question is superimposed into creators’ photos to show how laid back they are.
Meanwhile, “Anaconda,” from Minaj’s 2014 album The Pinkprint, rises concurrent with a 10th-anniversary reissue of the full-length that was released Nov. 22. But its TikTok surge is via the #womeninmalefields trend in which women ask what would happen if they did the same thing a man often does to them in a relationship.
“Hinoki Wood” sports an 82% jump in streams to 310,000 in the week ending Nov. 21, while “Anaconda” is up 16% to 818,000.
Two other songs hit the top 10 for the first time. First there’s The Marias, whose “No One Noticed” soars to No. 6 in its ninth week on the ranking, following a previous peak of No. 28. It benefits from a newly released extended version, with the Spanish-language edition scoring the lion’s share of the engagement.
“No One Noticed,” which is up 111% to 15.5 million official U.S. streams toward the Billboard charts thanks in part to the extended version’s release (including a 68-22 leap on the Hot 100), is mostly used in uploads discussing relationships past and present, more often than not the former.
Then comes NLE Choppa’s “Gang Baby,” which debuts at No. 9 two months after the song’s premiere as part of the rapper’s Slut Szn album in September. Its initial gains on the platform were via a dance challenge that NLE Choppa himself promoted, though a more choreographed dance has taken over in recent weeks.
“Gang Baby” jumps 39% in streams to 4 million in the week ending Nov. 21 and concurrently debuts at No. 42 on the Hot R&B/Hip-Hop Songs chart.
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.
Muni Long scores back-to-back No. 1s on Billboard’s Adult R&B Airplay chart as “Ruined Me” climbs from the runner-up spot to crown the list dated Nov. 30. The single captures the summit as the most-played song on U.S. monitored adult R&B radio stations in the tracking week ending Nov. 21, a 14% improvement from the prior week, according to Luminate.
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“Ruined Me,” released and promoted through Supergiant/MPR Global/Def Jam/Republic Records, follows Muni Long’s previous leader, “Make Me Forget,” a one-week champ in August. Both songs appear on the singer-songwriter’s Revenge album, which dropped on Aug. 30.
Elsewhere, “Ruined Me” repeats at its No. 12 high on the R&B/Hip-Hop Airplay chart, which ranks songs by combined audience totals from adult R&B and mainstream R&B/hip-hop radio stations. Despite no change in rank, the single rose to 8.1 million audience impressions, a 13% improvement over the prior week.
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While “Ruined Me” enjoys its coronation on Adult R&B Airplay, the song is beginning to make inroads on the Mainstream R&B/Hip-Hop Airplay chart, where it debuts at No. 35. Thanks to its growing promotion efforts, the track vaults 51% in its week-over-week play count.
Radio gains help “Ruined Me” hold at No. 14, two weeks after its No. 12 best, on the multimetric Hot R&B Songs chart, which blends airplay with streaming and sales for its rankings.
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2024 continues to be a banner year at radio for Muni Long, who first recorded under the name Priscilla Renae but enjoyed a resurgence – complete with a new stage name – that began with the viral hit “Hrs and Hrs” two years ago. She recaptured the same viral-to-radio magic with “Made for Me” earlier this year, leading to its seven-week domination on the R&B/Hip-Hop Airplay chart in April – May, and follow up “Made Me Forget” became another top 20 success, peaking at No. 18 in August.
In addition to Muni Long’s own Revenge singles, the singer-songwriter has another hit in “I Do,” with Toosii. The pair’s collaboration jumps 18-16 on R&B/Hip-Hop Airplay through a 7% weekly audience boost to 4.8 million impressions.
Linkin Park makes history by monopolizing the entire top 10 of Billboard’s Hot Hard Rock Songs chart dated Nov. 30 with songs from the band’s comeback album, From Zero.
The set, released Nov. 15, concurrently launches atop four rock-based Billboard album charts, with 97,000 equivalent album units earned in the week ending Nov. 21, according to Luminate.
Linkin Park lands its sixth No. 1 on Top Rock & Alternative Albums, which began in 2006, and first since One More Light, From Zero’s predecessor, led for two weeks in 2017.
From Zero also becomes the band’s ninth No. 1 on Top Hard Rock Albums, which began in 2007 – breaking Linkin Park out of a tie with Pearl Jam for the most in the chart’s history. The new album dethrones Linkin Park’s own 2024 greatest hits package Papercuts, which spent the preceding seven weeks on top and has reigned for 18 weeks total this year.
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The new set additionally debuts at No. 1 on Top Rock Albums, where it’s Linkin Park’s seventh No. 1, and Top Alternative Albums, marking its fifth.
From Zero also bows at No. 2 on the all-genre Billboard 200, becoming Linkin Park’s 12th top 10, as previously reported.
The set’s 11 songs infuse the top 10 of Hot Hard Rock Songs, marking the first time that an act has swept the region since the chart began in 2020. Previously, Linkin Park became the first act to take up the entire top five, on the Sept. 21 and 28 surveys on the strength of From Zero lead single “The Emptiness Machine” and tracks from the band’s catalog that resurged following its reunion and subsequent celebratory concert and tour and album announcement that month.
“The Emptiness Machine” leads the way on the Nov. 30 Hot Hard Rock Songs tally for an 11th total and consecutive week. In the week ending Nov. 21, it earned 6.1 million radio impressions and 5.6 million official U.S. streams and sold 1,000 downloads. It concurrently ranks atop the Rock & Alternative Airplay and Hard Rock Streaming Songs charts.
The top Hot Hard Rock Songs debut of the group, “Cut the Bridge” (as Nos. 1-4 already logged chart history as they were released before the release of From Zero), arrives at No. 5 with 3 million streams.
Lead single “The Emptiness Machine” topped the Alternative Airplay and Mainstream Rock Airplay tallies for six weeks apiece. Follow-up “Heavy Is the Crown” jumps 21-13 on the latest Mainstream Rock Airplay survey and is bubbling under Alternative Airplay.
From Zero is Linkin Park’s first album with new co-lead singer Emily Armstrong and drummer Colin Brittain. Former co-vocalist Chester Bennington died in 2017, while longtime drummer Rob Bourdon left the band in between One More Light and From Zero.
It’s official: Shaboozey‘s “A Bar Song (Tipsy)” spends a 19th week at No. 1 on the Billboard Hot 100 this week, tying the all-time record set by Lil Nas X’s Billy Ray Cyrus-featuring “Old Town Road” in 2019.
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The song holds at No. 1 the week the same week that his new single, “Good News,” debuts on the Hot 100 at No. 71. It also follows an eventful night at the CMA Awards for the singer-songwriter, where he performed and was a multi-time nominee, and made headlines at the awards for being the subject of several on-stage jokes that played off his name in a way that some found distasteful.
Will Shaboozey’s new hit be a success in its own right? And will “A Bar Song” eventually rack up a 20th week at No. 1?
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1. Shaboozey’s “A Bar Song” has tied the 19-week record at No. 1 on the Hot 100. On a scale from 1-10, how momentous an occasion do you think this is in chart and/or popular music history?
Kyle Denis: 10. This is probably the single grandest Billboard chart achievement; it’s an incredibly momentous occasion. Especially considering Shaboozey did it as a new artist with no high-profile remixes. It does feel a bit muted because 2019 was just five years ago, but few things can truly take away from how insane it is that the two longest-running Hot 100 No. 1 songs of all time are hip-hop-infused country songs by Black men.
Jason Lipshutz: A 10. I am on record writing that I didn’t think “A Bar Song” would get to 19 weeks, because 19 weeks at No. 1 is literally historic, and only one other song and soared that high in the generations-spanning history of the Hot 100. Now that it’s here, “A Bar Song” deserves its flowers, and to sit alongside “Old Town Road” in the pantheon of new-school mega-hits, the type of months-long smashes that we’ll be happily humming many years from now. Shaboozey should savor this moment, but so should all pop-watchers.
Melinda Newman: I’d give it a 9. Shaboozey had put out two albums prior to the album with “A Bar Song,” and several non-charting singles and now he’s verging on becoming a household name. He already has the record for most weeks at No. 1 for a non-collaboration in the 66-year history of the Hot 100. From here on out, every artist will be chasing his (co-) record.
Jessica Nicholson: 7. Like “Old Town Road” before it, Shaboozey’s “A Bar Song” was an inescapable hit this year, and both were led by Black artists, each crafting their own blend of elements of country, pop and rap into massive hits that resonated with nearly everyone, proving that the amalgam of those genres is a winning formula.
Andrew Unterberger: I’d say an 9. It doesn’t feel quite as momentous as when “Old Town Road” set the record five years ago — mostly because that was only five years ago, and because in the last decade the Hot 100 has clearly started to tilt towards longer-running No. 1s than in prior decades. But a 19-week No. 1 is a 19-week No. 1, and “A Bar Song” was one of the year’s most fascinating singles even before it began its incredible chart run, so it’s definitely still a very, very big deal.
2. Let’s say at Thanksgiving this week, a friend or relative of yours without much frame of reference for pop or country music asks what the deal with this song is. In one sentence, how would you explain this song’s popularity to them?
Kyle Denis: Country and western sounds and aesthetics have been defining aspects of pop culture this year, and “A Bar Song” captured all that energy into a literal, ridiculously catchy, bar song.
Jason Lipshutz: “It’s an anthemic, undeniable sing-along that became historically gigantic by appealing to all sorts of fans — country fans, pop fans, hip-hop fans, fans of J-Kwon’s impeccable 2004 jam ‘Tipsy’ — and clicking at every consumption platform that exists, from top 40 radio to TikTok.” That’s a long sentence, but still one sentence.
Melinda Newman: Even though the song is ostensibly about drinking away your troubles, it’s so insanely catchy, that you can’t help but tap your toes and sing along even if you’re nowhere near a bar or have no history with Jack Daniel’s.
Jessica Nicholson: This song blends a weekend barroom party groove, with lyrics steeped in laidback, workweek escapism, all rolled into one.
Andrew Unterberger: Whether you’re a pop fan, a rock fan, a country fan or a hip-hop fan — or best of all, if you’re all four — everyone loves a good barroom singalong.
3. Shaboozey’s “Good News” also debuts on the Hot 100 this week. We won’t ask if it’ll match the very-close-to-unprecedented success of its predecessor, but what kind of chances would you give it of quickly disqualifying Shaboozey from any one-hit wonder considerations?
Kyle Denis: I’d say it’s still early. It honestly feels unfair to even begin speculating about how a new Shaboozey single will perform as long as it must exist in the domineering shadow of “A Bar Song.” “Good News” doubles-down on Shaboozey’s country framework and shifts away from the uptempo hip-hop nods of “Tipsy,” which might limit just how far it can crossover. Prior to “A Bar Song,” Shaboozey tracks weren’t debuting on the Hot 100 after the first week, so the performance of “Good News” is already promising. And even if this particular song isn’t his second hit, that doesn’t mean he won’t snag one with a different tune.
Jason Lipshutz: I like “Good News” — it’s essentially “A Bar Song (Mournful),” with an impressive vocal take from Shaboozey and some nifty violin work snaking throughout the production — but I’m not sure it will replicate even a tenth of its predecessor’s success. “Good News” is arriving at a crowded moment at the top of the charts, with enduring hits, a new Kendrick Lamar album and the holiday music onslaught about to start. While I’m not sure Shaboozey’s latest will be able to hold on through January and make a chart push, I feel pretty confident that he’ll have something else in 2025 that can follow up “A Bar Song” and silence the one-hit-wonder chatter.
Melinda Newman: Here’s the “good news”: With “A Bar Song,” Shaboozey has already established himself with an instantly recognizable voice. I heard “Good News” and knew it was him without waiting for the song to be ID’d. Having said that, it’s going to take more than one hit and several years for Shaboozey to escape one-hit wonder status. And no matter how many hits he gets, this will be his signature song, but that’s not such a bad thing. I doubt Garth Brooks complains that fans wait all show to hear “Friends in Low Places.”
Jessica Nicholson: The song is already making strong inroads on the Hot Country Songs chart with a top 20 debut, so it seems very likely that this track will void any potential “one-hit wonder” notions. Like “A Bar Song,” “Good News” incorporates a singalong chorus and rustic-leaning acoustic guitar rhythms, which also lends a bit of familiarity for fans of “A Bar Song.”
Andrew Unterberger: Between its rousing chorus and capo’d acoustic guitar melody — and more than a hint of Zach Bryan on the verses — it certainly feels like it could (and should) find a big fanbase on streaming, radio or both. That doesn’t mean it necessarily will — plenty of prior non-“A Bar Song” Shaboozey songs were worthy singles that ended up not really catching fire — but I like its chances.
4. While this is a triumphant, headline-grabbing moment for Shaboozey, he has also been in the news the past week for last week’s CMA Awards, where he went home empty-handed and had his name used as a punchline in a variety of on-stage jokes. Do you think the CMA stuff taints the moment for Shaboozey, or will it soon become a footnote to his and his song’s historic accomplishments?
Kyle Denis: It’s a footnote that only reflects poorly on the CMAs. Hopefully, this moment can help crystallize Beyoncé’s true aim of Cowboy Carter – or at least what I think she was trying to get at. Through its expansive envisioning of Western and Americana aesthetics and collaborations with genre-bending artists like Shaboozey, Cowboy Carter found Beyoncé trying to remind us that being “country” and country music are far bigger than the CMAs or Nashville or any other institution. Shaboozey played the game and earned one of the two biggest songs in Billboard history — that still wasn’t enough to receive basic respect at his genre’s biggest awards show. Why continue to grovel for a seat at their table when you could build several dining halls elsewhere in the vast expanse that is country music?
Jason Lipshutz: Definitely a bizarre moment that possibly left a poor taste in Shaboozey’s mouth, but I’d bet every other artist at the CMA Awards would have wanted a 19-week No. 1 smash instead of a trophy that evening. I’d guess that Shaboozey has a good shot at the best new artist Grammy, and “A Bar Song” is one of the favorites for song of the year — possible redemption, although even being blanked at the Grammys won’t diminish the song’s achievement.
Melinda Newman: Definitely a footnote. He’s already been very classy about the jokes on social media and the simple fact is 80% of the nominees lose, so there’s no shame in going home empty-handed. He gave a fine performance of “Highway/A Bar Song,” and performances are, by and large, what move the sales/streaming needle post-awards show, not whose name is called when the envelope is opened.
Jessica Nicholson: In the short-term, it does feel like it temporarily taints the moment a bit, given all of the big milestones he’s had this year, from being featured on Beyonce’s Cowboy Carter album, his huge CMA Fest performance that shut down Nashville’s Lower Broadway this summer, his Billboard cover, sold-out shows and his Grammy Awards nominations. But in the long run, it will likely be a footnote, given the historic chart run of “A Bar Song,” and Shaboozey’s musical talent, which will likely be giving us more hits in years to come.
Andrew Unterberger: It’s part of his story now, but obviously not as big a part as having one of the two longest-running No. 1 hits in Hot 100 history. You just hope that everyone learns from this moment and Shaboozey is treated more like an insider than an outsider at the next such awards show.
5. The Hot 100 was already about to get crowded with the Christmas rush, and now Shaboozey has a new Kendrick Lamar album to deal with as well. Do you think “A Bar Song” manages to score a record-breaking 20th week at No. 1?
Kyle Denis It’s possible! Kendrick will probably snag a week or two on top before the holiday songs begin to dominate, so if I were on Team Boozey, I’d keep an eye on January. Release a remix – Maybe J-Kwon gets a call? Tease a Beyoncé version at either of their respective NFL halftime sets? — as the holiday songs begin to fade, but before Kendrick gets a double-whammy of a boost come February with the Grammys (Feb. 2) and the Super Bowl (Feb. 9) in back-to-back weeks.
Jason Lipshutz: Look, I have been the one saying “No way it gets to 10 weeks,” “No way it gets to 15 weeks,” “No way it gets to 19 weeks.” You know what? I’m calling it: “A Bar Song” gets to 20 weeks, somehow, some way! I am now drinking the whiskey, going to the party downtown near 5th street.
Melinda Newman: Sadly, no. Even though “A Bar Song’s” sales are going up, its streams are slowing, and it seems unlikely to hold off the juggernaut that is Kendrick Lamar, and, most notable, “Squabble Up” from Lamar’s new album. Plus, Christmas songs will start re-entering and soaring back up the chart. But that doesn’t take away from his remarkable accomplishment.
Jessica Nicholson: Even though “A Bar Song (Tipsy)” has had a stellar run, between the chart surge of holiday songs and the buzz around this new Kendrick Lamar album, it seems likely that “A Bar Song” will get overshadowed on the Hot 100.
Andrew Unterberger: Not in 2024, I don’t think. But we’ve likely got a sleepy January ahead, and I bet it can get at least one more week at that point.
Brandon Lake achieves his fourth No. 1 on Billboard’s Christian Airplay chart as “That’s Who I Praise” jumps three spots to the top of the ranking dated Nov. 30.
During the Nov. 15-21 tracking week, the song drew 5.6 million audience impressions, according to Luminate. Over on Christian AC Airplay, it reigns for a second frame. It’s Lake’s fourth chart-topper on each list.
The 34-year-old Lake, from Charleston, S.C., co-authored the single with Steven Furtick, Benjamin William Hastings, Zac Lawson and Micah Nichols, the lattermost of whom also produced it.
“I’m completely blown away. To hear that this song is connecting with so many hearts out there is humbling and just unreal,” Lake tells Billboard. “Keep praising God even when you don’t feel like it. Your worship is a weapon and our God is faithful.”
Lake last led both tallies as featured on Elevation Worship’s “Praise,” also featuring Chris Brown and Chandler Moore, beginning in May. He also scored his first No. 1 on the charts in collaboration with Elevation Worship: “Graves Into Gardens,” in 2021. Lake has also topped the surveys with “Gratitude” beginning in March 2023.
Transformation Worship Makes History
Gospel and Christian music collective Transformation Worship banks its third leader on Top Gospel Albums, as well as its third top 10 on Top Christian Albums, entering at Nos. 1 and 3, respectively, with Undefeated Champions. Released Nov. 15, the set earned 4,000 equivalent album units in its first week.
The Tulsa, Okla.-based act launched in 2010 at the city’s same-named church by lead pastor Michael Todd.
On Top Gospel Albums, Transformation Worship becomes the first worship collective to achieve three No. 1s in a calendar year, as Undefeated Champions follows Dominion, which opened on top in July, and Overflow, which started at the summit in June.
The group boasts a fourth Top Gospel Albums top 10 this year: Thy Kingdom Come debuted at its No. 6 best in October.
Brooks & Dunn, Jelly Roll Chart Remake
Renowned country duo Brooks & Dunn returns to Billboard’s religious charts with an update of “Believe,” which hit No. 6 on Hot Country Songs in 2006. The new version features Jelly Roll, who joined Kix Brooks and Ronnie Dunn for a performance of the song on the 58th annual Country Music Association Awards (Nov. 20), broadcast live on ABC.
The remake is from Brooks & Dunn’s collaborative LP Reboot II, which debuts at No. 5 on Top Country Albums with 24,000 equivalent album units. It marks the twosome’s 15th top 10 and first since 2019, when Reboot started as the pair’s seventh No. 1.
The new “Believe” bows atop Christian Digital Song Sales with 5,000 sold, while the 2019 original reenters at No. 6. It also debuts at No. 6 on Hot Christian Songs, bolstered further by 1.8 million official streams, marking Brooks & Dunn and Jelly Roll’s first appearance each on the chart.
“It’s been very difficult, especially for me, to develop a sense of self-worth that is not attached to one’s career, because we’re taught we are what we do,” Don Henley told Billboard in 1994. “But it must be done at some point, and it generally comes later in life.”
On the Nov. 26, 1994-dated Billboard 200, the Eagles’ reunion album Hell Freezes Over sizzled in at No. 1 with 267,000 copies sold, according to Luminate.
The set, which led for two weeks, marking the Eagles’ fifth Billboard 200 No. 1, returned the band to the chart’s summit after a break of nearly 15 years. The group logged its first four leaders consecutively in 1975-79: One of These Nights, Their Greatest Hits 1971-1975, Hotel California and The Long Run. The best-of set is the top-selling album of all time, according to the RIAA, with 38 million certified units.
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Following The Long Run, the Eagles – then comprising Henley, fellow co-founder Glenn Frey, Don Felder, Timothy B. Schmit and Joe Walsh – parted (acrimoniously enough, famously, to eventually inspire the wry Hell Freezes Over album title). They combined for seven top 40-charting solo albums on the Billboard 200 in between The Long Run and Hell Freezes Over, including Henley’s 1989 top 10 The End of the Innocence. Frey tallied two Billboard Hot 100 top 10s in that span – the No. 2-peaking anthems “The Heat Is On” and “You Belong to the City,” both in 1985 – while Henley notched five top 10s, reaching a No. 3 best with “Dirty Laundry” in 1982.
The group’s reformation was sparked in part by the five members’ appearance in Travis Tritt’s video for his version of the Eagles’ 1972 classic “Take It Easy.” The remake, from 1993’s Common Thread: The Songs of the Eagles, hit No. 21 on Hot Country Songs in March 1994, after the set had run up a 13-week reign on Top Country Albums.
Hell Freezes Over introduced four new Eagles songs, mixed with 10 of the group’s ‘70s favorites and Henley’s The End of the Innocence single “New York Minute” performed live on MTV in April 1994. “For the record, we never broke up … we just took a 14-year vacation,” Frey winked during the set.
All four new tracks reached Billboard songs charts: first single “Get Over It,” with Henley on lead vocals, hit No. 4 on Mainstream Rock Airplay and No. 31 on the Hot 100; “Love Will Keep Us Alive” (Schmit) crowned Adult Contemporary for three weeks; “Learn To Be Still” (Henley) rose to No. 15 on AC; and “The Girl From Yesterday” (Frey) reached No. 58 on Hot Country Songs.
In Henley’s 1994 interview with Billboard, he predicted that the Eagles’ reunion would be temporary. “We’ve grown in different directions now, as people should,” he mused, “and so we’ll finish our obligations and go our separate ways again.” He added with a chuckle, “And frankly, I’m looking forward to that.”
Still, the band continued to add to its legacy, and catalog, including the top five AC hits “Hole in the World” in 2003 and “No More Cloudy Days” in 2005. In 2007, the Eagles released Long Road Out of Eden, their first album of all-new material since The Long Run. Led by the AC top 10 and top 25 Hot Country Songs hit “How Long,” Long Road Out of Eden launched as the Eagles’ sixth and most recent Billboard 200 No. 1, moving 711,000 copies in its first week, the best frame for an album by the band since Luminate began tracking sales in 1991.
Following Frey’s passing in 2016, the Eagles have remained a touring force, with his son Deacon and longtime country hitmaker Vince Gill since having become staples of their lineup in concert. As announced today (Nov. 26), four more shows have been added to the Eagles’ residency at Sphere in Las Vegas, extending its run, which began Sept. 20, through April 12, 2025.
Dating to the Eagles’ 1994 reunion, they have earned $1.5 billion in concert grosses and sold 11.6 million tickets, according to Billboard Boxscore. Their The Long Goodbye Tour, which began in September 2023, has grossed $138.1 million and sold 486,000 tickets over its first 40 shows. Their Sphere residency has grossed $42.2 million and sold 131,000 tickets over its first eight shows.
Rauw Alejandro has much to celebrate this week as Cosa Nuestra, his fifth studio album, debuts at No. 1 on Billboard’s Top Latin Albums and Latin Rhythm Albums charts (dated Nov. 30). The set also launches at No. 6 on the overall Billboard 200, marking his highest charting set, and first top 10, among five career entries. Plus, the complete set pours onto the Hot Latin Songs chart.
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Cosa Nuestra was released Nov. 15 via Duars/Sony Music Latin. The 18-track effort, an amalgam of Latin rhythmic, salsa and pop songs, invites big names into the mix, with Pharrell Williams, Romeo Santos, Laura Pausini and Bad Bunny, while Timbaland is one of six producers on the James Brown-sampling “Sexxxmachine.”
The album earns Rauw Alejandro his second No. 1 –and seventh straight top 10– on Top Latin Albums and Latin Rhythm Albums charts, after Vice Versa gave the Puerto Rican a first No. 1 (21,000 equivalent album units earned in its first week in the U.S. in 2021, according to Luminate).
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Cosa Nuestra launches with 67,000 equivalent album units in its first week (ending Nov. 21), the artist’s largest week by units earned. Of that sum, traditional album sales contribute 1,000, streaming activity comprises 66,000 units, while the remaining negligible number of units stem from track-equivalent album units.
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.
Biggest Streaming Week for a Latin Album in 2024: Cosa Nuestra generated 66,000 in streaming equivalent album units in its first week, which equates to 87.7 million on-demand official streams of the set’s songs, marking the biggest streaming week for any Latin album in 2024. It surpasses the 87.5 million generated by the first full chart tracking week of Peso Pluma’s Éxodo (July 6 chart).
Second-Largest Week for a Latin Album in 2024: As Cosa Nuestra opens with 67,000 units, it yields the second largest weekly sum for a Latin album in 2024, after Kali Uchis’ Orquídeas opened at No. 1 on Top Latin Albums with 69,000 units.
Third-Highest Charting Latin Album on the Billboard 200 in 2024: Cosa Nuestra marks the third-highest charting Latin album on the overall Billboard 200 this year, following the debut frames of Kali Uchis’ Orquídeas (No. 2 in January) and Peso Pluma’s Éxodo (No. 5 in July). On the Billboard 200, Rauw Alejandro secures his highest charting performance among five career entries. Previously, the Puerto Rican reached a No. 17 high through Vice Versa in 2021.
It’s a Hot Latin Songs Splash: As Cosa Nuestra arrives, the complete album pours onto the Hot Latin Songs chart, which combines streaming data, digital sales and radio airplay into its formula. Out of those, 15 songs debut while three re-enter the multi-metric tally, including leading single “Touching The Sky” at No. 38, after its previous No. 22 high in June.
The album also yields five top 10s debuts with “Que Pasaría…,” with Bad Bunny, leading the pack at No. 2. The latter is also the album’s most-streamed song for the week, with 12 million official U.S. streams, enough for a No. 25 start on the overall Streaming Songs chart and a subsequent No. 2 debut on Latin Streaming Songs. The song likewise becomes the most sold track of the week, with 1,000 downloads sold and a No. 1 debut on Latin Digital Song Sales.
Here’s the full review of those cuts:
No. 2, “Que Pasaría…,” with Bad Bunny (debut)No. 3, “Khe?” with Romeo Santos (debut)No. 6, “Tú Con Él” (debut)No. 7, “Se Fue,” with Laura Pausini (debut)No. 8, “Revolu,” with Feid (debut)No. 11, “Déjame Entrar” (re-entry)No. 12, “Ni Me Conozco” (debut)No. 14, “Baja Pa’ Acé,” with Alexis y Fido (debut)No. 15, “Committed,” with Pharrell Williams (debut)No. 16, “Espresso Martini,” with Marconi Impara & Yan Block (debut)No. 18, “Amar de Nuevo” (debut)No. 20, “Cosa Nuestra” (debut)No. 24, “Mil Mujeres” (debut)No. 26, “IL Capo”No. 29, “2:12 AM,” with Latin MafiaNo. 30, “Pasaporte,” with Mr. Naisgai (re-entry)No. 38, “Touching The Sky” (re-entry)No. 40, “Sexxxmachine”
While “Que Pasaría…,” with Bad Bunny, is the album’s most-sold and streamed track, “Tú Con Él,” a faithful rendition of Frankie Ruiz’s ‘80s gem, stretched globally as Rauw Alejandro performed the song at the Global Citizen Festival.
While the late salsa icon died in 1998, he scored a Billboard chart entry earlier in 2024. Victor Manuelle’s “Otra Noche Más” includes Ruiz’s vocals from his 1989 song “Deseándote,” and gave him featured artist billing. The track reached No. 3 on Tropical Airplay and a No. 15 on the overall Latin Airplay chart.
All charts (dated Nov. 30, 2024) will update on Billboard.com tomorrow, Nov. 26). For all chart news, you can follow @billboard and @billboardcharts on both X, formerly known as Twitter, and Instagram.