Chart Beat
Page: 242
Styx’s “Renegade” reigns on Billboard’s Top TV Songs chart, powered by Tunefind, for August 2023, after it was heard in the season premiere of Showtime’s Billions.
Rankings for the Top TV Songs chart are based on song and show data provided by Tunefind and ranked using a formula blending that data with sales and streaming information tracked by Luminate during the corresponding period of August 2023.
“Renegade,” a No. 16 hit for Styx on the Billboard Hot 100 in June 1979, lands at No. 1 following its synch in Billions’ Aug. 11 episode, which coronated the premiere of its seventh and final season.
In August 2023, “Renegade” earned 5.1 million official on-demand U.S. streams and 1,000 downloads, according to Luminate.
The song reigns over Massive Attack’s “Teardrop,” which bows at No. 2. It was heard in the series premiere of The Lost Flowers of Alice Hart, a newcomer to Amazon Prime Video’s slate of programming that first aired Aug. 4.
“Teardrop,” which bubbled under the Hot 100 in 1998, garnered 1.5 million streams in August 2023.
Music from the continuation of the second season of Amazon’s The Summer I Turned Pretty dots much of the remainder of the Top TV Songs top 10. The July 2023 list featured Guns N’ Roses’ “Sweet Child o’ Mine,” heard in the show’s fourth episode of its second season (July 21), at No. 1, and the final three episodes of season 2 aired in August.
“Exile,” by Taylor Swift and featuring Bon Iver, leads the pack of The Summer I Turned Pretty songs at No. 3 (15.6 million streams, 4,000 downloads), followed by Miley Cyrus’ “Party in the USA” at No. 4 (22.7 million streams, 3,000 downloads). In all, four of the chart’s 10 songs are from the Amazon series.
See the full top 10, also featuring music from Winning Time: The Rise of the Lakers Dynasty, Hard Knocks and What We Do in the Shadows, below.
Rank, Song, Artist, Show (Network)1. “Renegade,” Styx, Billions (Showtime)2. “Teardrop,” Massive Attack, The Lost Flowers of Alice Hart (Amazon Prime Video)3. “Exile,” Taylor Swift feat. Bon Iver, The Summer I Turned Pretty (Amazon Prime Video)4. “Party in the USA,” Miley Cyrus, The Summer I Turned Pretty (Amazon Prime Video)5. “Dear Mr. Fantasy,” Traffic, Winning Time: The Rise of the Lakers Dynasty (HBO)6. “I Can’t Stand the Rain,” Ann Peebles, Hard Knocks (HBO)7. “Jump Around,” House of Pain, What We Do in the Shadows (FX)8. “Free Fallin’,” Tom Petty, The Summer I Turned Pretty (Amazon Prime Video)9. “All the Small Things,” Blink-182, The Summer I Turned Pretty (Amazon Prime Video)10. “I Feel Love,” Donna Summer, Winning Time: The Rise of the Lakers Dynasty (HBO)
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 charts dated Sept. 23), one of rap’s most self-contained stars aims for his third straight No. 1 on the Billboard 200 – though one of the summer’s biggest new releases still stands in his way.
Rod Wave, Nostalgia (Alamo): Florida singer-rapper Rod Wave continues to quietly build his case as one of the most consistently successful artists in popular music. Without any major breakout Hot 100 hits – he’s reached the top 30 seven times to date, but still never the top 10 – Wave has nonetheless hit the Billboard 200’s top 10 with each of his five official sets so far, and topped the chart with his last two albums: 2021’s SoulFly and 2022’s Beautiful Mind.
Two of those top 30 Billboard Hot 100 hits (the No. 16-peaking “Fight the Feeling” and the No. 26-debuting “Call Your Friends”) arrived in advance of his new LP, Nostalgia, which was released on Friday (Sept. 15). As has traditionally been the case with Wave’s albums, the 18-track Nostalgia is relatively short on big-name features – though he does get one major lift from guest rapper 21 Savage on “Turks & Caicos.”
The album’s performance will rely solely on its digital performance, as it is not yet available for any kind of physical purchase. However, Wave has been regularly dominant on streaming since his breakthrough at the end of the 2010s, and Nostalgia appears to be no exception so far — five days after its release, the album still claims 15 of the top 18 spots on Apple Music’s real-time chart. It’ll need robust numbers to get by Olivia Rodrigo’s Guts in its second week, though: The 302,000 units that album debuts with on this week’s Billboard 200 was the year’s fourth-biggest total so far, and the set remains strong in streams and sales.
Mitski, The Land Is Inhospitable and So Are We (Dead Oceans): Indie darling Mitski made a huge jump into the mainstream at the beginning of the decade, becoming a massive favorite on TikTok over the pandemic and cashing in on her newfound visibility with a top five Billboard 200 debut for her Laurel Hell album in early 2022. She looks to keep that momentum going with this month’s The Land Is Inhospitable and So Are We, which is available in four vinyl variants (as well as on cassette and CD), and which eschews the sparkling synth-pop of its predecessor’s singles for the dustier singer-songwriter balladry of some of its deeper cuts. It’s already paid off with one breakout hit: “My Love Mine All Mine” climbs to a new high of No. 50 on Spotify’s Daily Top Songs USA chart today.
Dan + Shay, Bigger Houses (Warner Bros. Nashville): After nearly breaking up following their tour in support of 2021’s Good Things, the hitmaking country duo of Dan Smyers and Shay Mooney make a big return this week with their Bigger Houses album. The set, released in five variants on vinyl and two on CD (with signed copies available in both formats), should sell well – but it might not be as big a performer on streaming as past sets, since none of the advance songs have really taken off there yet (“Save Me the Trouble” has been the highest Hot 100-charter so far, at a modest No. 84.). The duo has a streak to protect with Houses: Each of their four full-lengths to date have reached the Billboard 200’s top 10.
IN THE MIX
Diddy, The Love Album: Off the Grid (Love/Motown): Diddy’s long-awaited Love Album is his first solo release in 17 years, and his first major release of any kind since 2010’s cult classic Last Train to Paris set as part of Diddy – Dirty Money. The new album has no advance hits to support it, but it does have volume on its side: both with its length (23 tracks) and a robust guest list that includes such big-name guests as The Weeknd, 21 Savage, Justin Bieber, H.E.R., Jazmine Sullivan, Swae Lee, Mary J. Blige, Summer Walker and Babyface.
Sleepy Hallow, Boy Meets World (Winners Circle/RCA): Two years after hitting the Billboard 200’s top 20 with debut album Still Sleep?, New York rapper Sleepy Hallow returns with sophomore set Boy Meets World. The set includes a handful of the one-offs he’s released over those two years (like 2022 Hot 100 hit “Die Young”), as well as new collabs with hitmakers Fivio Foreign and Doechii – the latter on “Anxiety,” which has already found some early success on TikTok.
Thirty Seconds to Mars, It’s the End of the World But It’s a Beautiful Day (Concord): One of the biggest rock bands of the late ‘00s and early ‘10s, the Jared Leto-led 30STM scored their best Billboard 200 debut in 2018, with their America album. That set finally gets its follow-up this month with the more pop- and electronic-influenced It’s the End of the World But It’s a Beautiful Day, with 13 separate vinyl variants available to attract the kind of sales that powered America’s debut. Beautiful Day won’t have the advantage its predecessor did of being able to count concert ticket/album sale redemption offers towards its final tally, though, with such bundles being removed from BB200 calculations in July 2020.
BE:FIRST’s “Mainstream” debuts at No. 1 on the latest Billboard Japan Hot 100, dated Sept. 20, tracking the week ending Sept. 17.
The fourth single by the seven-member boy band sold 169,197 CDs in its first week, which is 12,890 more than their previous single “Smile Again” that launched with 156,307 copies. “Mainstream” hits No. 2 for physical sales, while being campaign-propelled to No. 1 for downloads (54,835 units), radio, and video views. The track also hits No. 5 for streaming with 7,550,928 weekly streams, also powered by a campaign offering stickers and other goodies to winners. The popular BMSG group is set to perform live for the first time on Music Station’s three-hour special next week (Sept. 29), and will be premiering the song’s performance on the long-running music program.
[embedded content]
YOASOBI’s “Idol” rises 4-2 on this week’s chart after being crowned the first No. 1 song on Billboard Japan’s inaugural Global Japan Songs Excl. Japan chart unveiled Sept. 14, which ranks popular Japanese songs outside of Japan. The record-breaking mega-hit that sat atop the Japan Hot 100 for 21 weeks returns to No. 1 for streaming with 10,676,391 streams, while coming in at No. 6 for downloads (6,411 units), No. 45 for radio, and No. 4 for video views.
Explore
Explore
See latest videos, charts and news
See latest videos, charts and news
[embedded content]
Ado’s “Show” jumps 8-3 after dropping digitally Sept. 6. While downloads slipped 2-3 with 11,222 units, streaming rose significantly from No. 15 to No. 3 with 8,691,618 streams. The latest track by the “New Genesis” singer is collecting points in a balanced way, coming in at No. 2 for video and No. 6 for radio.
[embedded content]
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 Sept. 11 to 17, here. For more on Japanese music and charts, visit Billboard Japan’s English Twitter account.
Welcome to Billboard Pro’s Trending Up column, 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. This week: SZA’s second SOS smash benefits from a new acoustic version with a superstar guest, while TikTok helps Mitski and Tate McRae score some of their best numbers in years with their respective new singles.
Explore
See latest videos, charts and news
See latest videos, charts and news
Justin Bieber Hitting “Snooze” Could Make for SZA’s Second Top 5 Hit
[embedded content]
It’s been the slowest of burns, but “Snooze,” the swaying mid-album highlight from SZA’s blockbuster SOS, has grown into the album’s second smash hit, following the Billboard Hot 100-topping “Kill Bill.” The song has now spent 13 weeks atop Billboard‘s R&B/Hip-Hop Airplay chart, and hit a new peak of No. 7 on the Hot 100 a few weeks ago (on the chart dated Sept. 9), following the release of its captivating and star-studded music video. And now one of those guest stars — pop superstar Justin Bieber — might help the song rise even higher on next week’s chart, thanks to his appearance on the song’s new acoustic version.
With the debut of “Snooze (Acoustic)” on Friday (Sept. 15), the total official on-demand U.S. streams for “Snooze” (which includes the new acoustic version) has jumped to 12.1 million for the four-day period of Sept. 15-18, up from 7.5 million streams during the same period the week before (Sept. 8-11) — a gain of 61%, according to Luminate. (The song also more than doubled in sales, from 800 to 1,700). The resulting boost should give it a another shot of caffeine on the Hot 100 next week, perhaps resulting in it jumping from its current No. 8 placement to the chart’s top five — becoming just SZA’s second single to do so. – ANDREW UNTERBERGER
Mitski’s ‘Love’ Radiates on Streaming
[embedded content]
Over the course of her career, Mitski has watched songs belatedly go viral and translate TikTok trends into major streaming numbers; “Washing Machine Heart,” for example, transformed from a back-half highlight of 2018’s Be the Cowboy into one of her most-streamed songs years after its release. Yet the acclaimed indie singer-songwriter has never enjoyed a hit single from a current album, and STILL hasn’t yet hit the Hot 100 chart.
Both may change if “My Love Mine All Mine,” the heartbreaking, waltzing ballad from Mitski’s new album, The Land Is Inhospitable and So Are We, continues its upward trajectory on streaming platforms. The lilting hook from the song is already getting some TikTok play, with Laufey (an artist recently familiar with scoring a viral hit) posting, “Nobody talk to me rn mother mitski just dropped and it’s perfect.”
Mitski released Inhospitable last Friday (Sept. 15), but daily streams of “My Love Mine All Mine” have increased since then – debuting with 466,000 official on-demand U.S. streams on Friday, and earning 659,000 streams on Monday (Sept. 18), according to Luminate. Meanwhile, its eye-popping music video (also released last Friday) has earned 522,000 YouTube views to date, and the song has bumped up to No. 50 on Spotify’s daily Top Songs USA chart. After last year’s Laurel Hell earned Mitski her first top 10 entry on the Billboard 200 albums chart, she’s hoping that the early breakout hit from its follow-up earns some more firsts on the singles charts. – JASON LIPSHUTZ
TikTok Snippet Campaign Nets Big Streaming Returns for Tate McRae’s “Greedy”
[embedded content]
After several weeks of teasing, Tate McRae’s “Greedy” has debuted to immediately sizable streaming returns. According to Luminate, the breezy, self-assured pop track – which marks McRae’s first solo release in almost a year – collected over 6.3 million official on-demand audio streams during the period of September 15-18, pulling over 1.2 million streams each day. The song enjoyed a total of 1.99 million streams on its first full day of release.
“Greedy” is a successful example of a concerted TikTok-focused promotional plan. Instead of getting carried to success by a random runaway trend, McRae steadily teased snippets of “Greedy” for weeks on end, dating back to August 4. “Oh s—t, u guys want this one?” she cheekily captioned the post, which has since garnered over one million likes and 8.1 million views on the platform. Between the track’s melodic nod to Nelly Furtado and Timbaland’s “Promiscuous” and lyrics that flaunt tongue-in-cheek self-confidence, “Greedy” quickly went viral on TikTok, spawning tens of thousands of videos of users lip-syncing their favorite lines – particularly the lyric “Obvious that you want me, but I said/ I would want myself/ Baby, please believe me.” McRae encouraged her fans’ use of the snippet by stitching their videos and cheering them on.
Several different TikTok sounds – all with over 30,000 posts each – went viral on the platform, with a slightly sped-up version gaining the most traction (105,900 posts). The track’s official music video, which features choreography from Sean Bankhead, garnered over 1.8 million views in five days.
Already having reached the top 10 of both US Apple Music Pop and Spotify Global, “Greedy” is shaping up to be a particularly successful single for McRae. At the very least, the early numbers have proven that McRae, RCA label head Peter Edge and Sony Music CEO Rob Stringer made the right decision in choosing to push “Greedy.” – KYLE DENIS
Billboard has more than 200 different weekly charts in its menu, encompassing numerous genres and formats.
While established artists often compete for a spot on the Billboard Hot 100 songs chart and Billboard 200 albums ranking, which track the most popular songs and albums of the week, respectively, up-and-coming talents typically start off on genre-specific lists.
Here’s a look at 10 titles by artists who appear on surveys for the first time on the Sept. 23-dated charts.
Explore
Explore
See latest videos, charts and news
See latest videos, charts and news
BOYNEXTDOOR
[embedded content]
The South Korean boy band makes an impressive arrival on Billboard’s charts thanks to its new EP, Why.. The six-track set, released Sept. 4 via KOZ Entertainment/Geffen Records, debuts at No. 1 on Heatseekers Albums, No. 3 on World Albums and No. 162 on the Billboard 200 with 8,000 equivalent album units earned in its opening week (Sept. 8-14), according to Luminate. Nearly all of those units were in traditional album sales, helping the set also starts at No. 10 on Top Album Sales. The EP also sparks the group’s No. 1 debut on the Emerging Artists chart and No. 64 entrance on the Billboard Artist 100. KOZ Entertainment, a subsidiary of HYBE Corporation, formed BOYNEXTDOOR earlier this year. The group comprises Jaehyun, Leehan, Riwoo, Sungho, Taesan and Woonhak.
Khamari
[embedded content]
The singer-songwriter, from Dorchester, Mass., and now based in Los Angeles, lands on Billboard’s charts for the first time with his breakout single, “These Four Walls.” The song, released in May via RCA Records on his debut studio album A Brief Nirvana, debuts at No. 27 on Adult R&B Airplay (up 115% in plays), aided by a COLORSxSTUDIOS performance of the song released in June. Khamari has released one additional collection: his debut six-track EP Eldorado, in 2019.
Royel Otis
[embedded content]
The Australian duo, from Sydney, scores its first Billboard chart entry, thanks to its wryly-titled single “Sofa King.” The song, released in March via Ourness/House Anxiety, debuts at No. 36 on Alternative Airplay (up 184% in plays). The song appears on the pair’s debut seven-track album Sofa Kings, released in March. Before that, the twosome released three EPs: Campus in 2021, Bar & Grill in 2022 and Going Kokomo earlier this year. The duo’s name is a combination of the two members’ first names: Royel Maddell and Otis Pavlovic. The act is currently on the North American leg of its Sofa Kings Tour.
Nick Shoulders
[embedded content]
The singer-songwriter, from Fayetteville, Ark., notches his first chart appearance, thanks to his new studio album, All Bad. The set, released Sept. 8 on Gar Hole Records, debuts at No. 58 on the Top Current Album Sales chart with 1,000 copies sold in its opening week. He also bows at No. 38 on the Emerging Artists chart. Shoulders has released three additional albums: Lonely Like Me in 2018, Okay, Crawdad (2019) and Home on the Range (2021). Shoulders is also an illustrator, having designed the covers of each of his LPs, as well as tour and other posters.
BOI WHAT
[embedded content]
The artist (real name: Eli Strobeck), who makes AI-generated music inspired by the Nickelodeon show Spongebob Squarepants, lands on Billboard’s charts for the first time with “Plan Z.” The song, released Sept. 8 on Hallwood Recordings, debuts at No. 14 on the Hot Hard Rock Songs chart with 710,000 official streams earned in its opening week. “Plan Z” uses AI-created vocals from the Spongebob character Plankton (voiced in the series by Mr. Lawrence) about learning the Krabby Patty Secret Formula—a recurring gag in the series. BOI WHAT has released four other AI-crafted songs: “Make a Wish (Squiddy),” “Dear Magic Conch Shell,” “Wish I Woulda Known” and “Just a Pineapple” (which has tallied over 4.5 million official streams since its Sept. 1 release). The tracks, which contain country, hip-hop and pop elements, use AI to mimic vocals from the Spongebob, Squidward, Patrick Star and Sandy Cheeks characters, voiced by Tom Kenny, Rodger Bumpass, Bill Fagerbakke and Carolyn Lawrence, respectively. “Dear Magic Conch Shell,” notably, draws from Morgan Wallen’s “Cowgirls,” featuring ERNEST.
Bobbi Storm
[embedded content]
The singer, dancer and writer, from Detroit, is officially a Billboard-charting artist, thanks to her song “We Can’t Forget Him.” The track debuts at No. 36 on Mainstream R&B/Hip-Hop Airplay and No. 50 on R&B/Hip-Hop Airplay (1.6 million radio airplay audience impressions Sept. 8-14), ahead of its wide release Friday (Sept. 22) through TRIBL Records. Storm has released eight other songs, from 2017’s “Poor Dat” through “Lazy Love” in July 2022.
Cryptopsy
[embedded content]
The Canadian technical death metal band claims its first Billboard chart entry, thanks to its new album As Gomorrah Burns. The set, released Sept. 8 on Nuclear Blast Records, debuts at No. 60 on Top Current Album Sales with 1,000 copies sold in its opening week. Cryptopsy has been releasing music since the late 1980s. Before As Gomorrah Burns, the band’s first studio album in 11 years, the act released seven additional studio LPs: Blasphemy in 1994, None So Vile (1996), Whisper Supremacy (1998), …And Then You’ll Beg (2000), Once Was Not (2005), The Unspoken King (2008) and Cryptopsy (2012). The current lineup of the group is Christian Donaldson, Matt McGachy, Flo Mounier and Olivier Pinard.
Ang3lina & Feranbanks
[embedded content]
Both artists arrive on Billboard’s charts for the first time thanks to their collaboration “Tempted 2 Touch.” The song, released in February on No Grind No Shine, debuts at No. 7 on the World Digital Song Sales chart and was boosted by a new Jersey Club remix, released Sept. 1. Ang3lina is based in the U.K. Feranbanks, from Akoko, Ondo, Nigeria, released his debut studio album Better Days Ahead in September 2022.
Dark Divine
[embedded content]
The Orlando, Fla.-based hard rock band arrives on Billboard’s charts with its sophomore LP, Deadly Fun. Released Sept. 8 on Thriller Records, the collection debuts at No. 100 on Top Current Album Sales with 1,000 copies sold. The group released its debut studio album Halloweentown in September 2022. Dark Divine comprises Anthony Martinez (vocals), Robby Lynch, Jason Thomas Mueller (both on guitar), Jarret Robinson (bass) and Triston Blaize (drums).
Capri Everitt, Setou & Senyo & B Martin
[embedded content]
All three acts reach Billboard’s charts for the first time thanks to their collaboration, “Arcade.” The song, self-released Sept. 8, debuts at No. 17 on the Dance/Electronic Digital Song Sales chart. Everitt, from Vancouver and now based in Los Angeles, has been releasing songs since 2018. In 2015, when she was 11 years old, she broke the Guinness World Record for the most national anthems sung in their host countries in a single year: 76. (She sung her final anthem that year at a Washington Nationals baseball game.) Setou & Senyo are twin brothers from Ottawa who release house/EDM music inspired by R&B, hip-hop, disco and jazz. B Martin is a New York-born, Los Angeles-based dance artist who has opened for the likes of Steve Aoki, Big Sean and J. Cole.

Singer-songwriter Lauren Daigle returns to No. 1 on Billboard’s Top Christian Albums chart (dated Sept. 16) with her self-titled set, now available as a deluxe version that adds 13 tracks to the original 10-song album.
Lauren Daigle arrived atop the survey on the list dated May 27 with 25,000 equivalent album units, becoming her fourth leader. After the deluxe edition was released Sept. 8, the set (with both versions combined into one chart listing) rebounds 5-1 for its second week on top. It earned 13,000 equivalent album units (up 388%), with 8,000 in album sales, Sept. 8-14, according to Luminate. On the all-genre Billboard 200, it re-enters at No. 79, after it opened at its No. 21 high in May.
The full LP, which pairs Daigle with producer Mike Elizondo for the first time, is her first through Atlantic Records, with which her longtime label, Centricity, formed a partnership in January 2022.
“It took every ounce of me not to explode the secret of a second half,” Daigle tells Billboard. “I’ve treasured and stored up this record in my heart for quite some time. I had the privilege of creating with Mike Elizondo and a host of incredibly talented writers who made these songs come to life. Since May, the team has helped pave a way for this music to be heard and I am deeply grateful that people listened. I always say that moments like this take a village. Hats off to all. Keep sharing the love and the music … it’s what makes this music world go around!”
Daigle had last released new music with Look Up Child, which opened at the Top Christian Albums apex in September 2018 and proceeded to ring up a record 102 frames at No. 1. It was bolstered by the crossover smash “You Say,” which dominated the streaming-, airplay- and sales-based Hot Christian Songs chart for an also unprecedented 132 weeks starting in July 2018.
[embedded content]
The first single from Daigle’s eponymous LP, “Thank God I Do,” rules Hot Christian Songs survey for a 19th week, having become her sixth leader in May. It tallied 6.1 million in all-format airplay, 2.2 million streams and 1,000 downloads sold during the tracking week. It also leads Christian Digital Song Sales for a 23rd week. It topped Christian Airplay for a week in July, giving the Lafayette, La., native her fifth chart-topper (and reached the top 15 on both Adult Contemporary and Adult Pop Airplay).
The LP’s sophomore single, “These Are the Days,” pushes 24-23 for a new high on Christian Airplay (987,000, up 38%). On Hot Christian Songs, it hops 43-29, after hitting No. 21 in May.
The sophomore slump has officially been avoided for Olivia Rodrigo. This week, her second album Guts debuts atop the Billboard 200, while also charting all 12 of its tracks in the top 40 of the Billboard Hot 100 — including a return to the No. 1 spot for a second week for its lead single, “Vampire.”
Explore
Explore
See latest videos, charts and news
See latest videos, charts and news
As for questions of how Guts‘ first week would compare to that of her smash debut album Sour, the answer is: a little bit better. Guts debuts with 302,000 units to the 295,000 of Sour, while also charting one more Hot 100 entry — though that’s mostly because the album contains 12 tracks to Sour‘s 11.
Is this the kind of performance we expected from Rodrigo’s Sour follow-up? And where might her career be headed from here? Billboard staffers discuss these questions and more below.
1. Olivia Rodrigo’s Guts debuts atop the Billboard 200 with 302,000 units moved — a smidge higher than the 295,000 posted by her debut album Sour in its first week. On a scale from 1-10, if you’re Olivia Rodrigo, how happy are you with that number?
Katie Atkinson: A 10. Sour was such a blockbuster introduction, so to not only meet, but surpass that initial splash has to be a huge relief. Now Olivia is not just riding the momentum or the good will of the beloved songs from her debut album; she’s released a collection of newly beloved songs whose full potential remains to be seen.
Kyle Denis: A strong 8.5. Not only did Olivia surpass Sour’s first-week numbers, she also did it while leaning further into a sound that did not dominate her debut album. It was always going to be impossible to flawlessly recreate the exact conditions of a storm as perfect as Sour, but she pulled better numbers without having to do that.
Jason Lipshutz: An 8. Maybe Olivia Rodrigo and her team were hoping for an even larger debut number for one of the most anticipated pop albums of the year, but the reality is that Sour included bigger pre-release hits than Guts, with “Drivers License” and “good 4 u” — and Rodrigo’s sophomore album still scored a larger sales number. That feat speaks to the general excitement around Rodrigo, crystallized by the way that Guts dominated the pop culture discourse upon its release; she’s a superstar, and this 300k+ debut is another solid level up.
Danielle Pascual: A 9. What Olivia achieved with Sour was unheard of. Not only did it debut at No. 1 on the Billboard 200, it was also the biggest album of 2021 and remains the longest-running debut album on the chart this century. The fact that she didn’t have an eight-week Hot 100 chart-topping lead single (“Drivers License”) this time around, but still outpaced Sour‘s first-week, is a true testament to her popstar prowess.
Andrew Unterberger: An 8. To match and even slightly exceed Sour is no small feat, given how hard it has proven (especially in recent years) for pop stars with more-or-less fully formed debut albums to maintain that performance for LP2. But given the anticipation for Guts and just how much emphasis Rodrigo puts on her album releases — to the point where she was essentially gone from popular music for most of the two years in between the two sets — I also wouldn’t be surprised if Team Rodrigo was at least somewhat hoping to land a first-week number more in line with the very biggest releases of the year.
[embedded content]
2. After hanging around the top 10 for most of the 10 weeks it had been on the chart, “Vampire” rebounds to No. 1 this week, while “Bad Idea Right?” zooms back from No. 26 to a new peak of No. 7 in its fifth week. Have those first two Guts songs have mostly underperformed, overperformed, or about matched your commercial expectations so far?
Katie Atkinson: I would say matched. The album’s lead single being a chart-topper makes a lot of sense, given all the curiosity around what her sophomore album would sound like. And “bad idea right?” still has room to grow, especially at pop radio, so I could see it surpassing its new No. 7 peak. If you look at the Sour twofer of eight-week No. 1 “drivers license” followed by the No. 3-peaking “Déjà Vu,” it’s a similar trajectory. And then there was “good 4 u”…
Kyle Denis: I think they’ve both just about matched my commercial expectations so far. “Vampire” has performed quite consistently – especially considering its pseudo-rock opera sound is pretty far removed from the country, Afrobeats and hip-hop that have been mainstays in the Hot 100’s upper regions this year. “Bad Idea Right” reaching a new peak is also impressive, for me, because the Guts singles had a more truncated pre-album release period than the Sour singles did. Sure, neither song really recaptured the heights of “Drivers License” and “Good 4 U,” but Olivia could’ve very well ended up flat on her face if she focused on recreating those successes to a tee.
Jason Lipshutz: Overperformed! “Vampire” is a singular pop-radio experience these days — sprawling and theatrical in approach compared to the clipped, ultra-catchy songs in power rotation around it — while “Bad Idea Right?” slides into the “good 4 u” lane but rocks harder and shrugs off pop appeal more vociferously. The fact that both singles have logged multiple frames in the top 10, and that one of them has spent a pair of weeks at No. 1, while being notably out of step with modern pop trends illustrates Rodrigo’s current power as an A-list artist, capable of bending popular music towards her interests.
Danielle Pascual: Overperformed. From the moment Olivia announced Guts, I knew it’d be nearly impossible to match the success of “Drivers’ License” for her sophomore album’s lead single. When you go on a two-year break between your debut and sophomore albums, you risk the chance of fans falling off, forgetting about you or moving on to the next big thing. However, the fact that “Vampire” returned to No. 1 upon Guts’ big Billboard 200 debut shows that her dedicated army of Livies aren’t going anywhere. Also, not many artists can say they rose nearly 20 spots in a single week — and as “Bad Idea Right?” continues to gain traction on TikTok, I don’t think it’s reached its peak just yet.
Andrew Unterberger: Matched. Both songs came in a little softer than their accompanying Sour-era singles, but both were also slightly tougher sells commercially — the fact that “Vampire” has still racked up two weeks at No. 1 and “Idea” has now reached a No. 7 peak is pretty impressive, considering.
3. “Get Him Back!” is the highest-debuting of the set’s new tracks, bowing at No. 11 — assisted by top Spotify New Music Friday placement, an eye-catching music video and a big look at the MTV Video Music Awards this Tuesday. Does it seem to you like it will be a lasting hit off the album? If not, is there another song on the album you think could be ticketed for (or worthy of) such success?
Katie Atkinson: I 100% peg this as the “good 4 u” of Guts – and I’m betting that No. 11 is just the beginning. First of all, can we talk about the title turn-of-phrase? It’s one of those cute little wordplay moments that you hear in a song and can’t believe it isn’t already a cliché. Flipping “get him back” to mean reunite AND exact revenge is so brilliantly bratty. For me, this is the lasting hit.
Kyle Denis: Yes. I think, right now, all signs point to “Get Him Back!” becoming not just a lasting hit, but potentially the biggest hit of the entire Guts era. That chorus is undeniable, and the bratty spoken verses are simply irresistible. Outside of “Get Him Back,” I think “Making the Bed” and “The Grudge” could do a little something. It’ll be interesting to see whether the rest of this album’s singles bank on the ballads or the more overt pop-rock bangers.
Jason Lipshutz: It depends on the concurrent runs of the Rodrigo songs around it: If “Vampire” and “Bad Idea Right?” continue rolling in the top 10 of the Hot 100, and commanding the attention of radio blocks and streaming playlists, then “Get Him Back!” — which already received a splashy music video and big awards look — will be crowded out of the spotlight. I hope that’s not the case, however, because “Get Him Back!” is the best song on Guts, and would be a truly exciting mainstream hit. Let’s hope there’s enough room in our cultural appetite for its dazzling wordplay and exploding-heart breakdown.
Danielle Pascual: I will definitely be surprised if “Get Him Back!” doesn’t hit the Hot 100 top 10 next week. With the similar Y2K pop-punk feel to it that “Bad Idea Right?” has, “Get Him Back!” is undoubtedly getting a bigger push — and not just by the label. A fan-made TikTok dance for the song is going viral, as is a trend of people recreating its iPhone-made music video. Chatter surrounding the song only seems to be growing, and I’d place my bets on it becoming the biggest hit on Guts.
Andrew Unterberger: It does definitely seem like the best pick for a Guts breakout hit, but I’m a little worried about its performance so far. Despite getting a top placement on Spotify’s New Music Friday playlist and both a flashy music video and an eye-catching VMAs introductory performance last Tuesday, the song still missed a top 10 debut this week, and its streaming numbers in the days since haven’t really been trending in the right direction. Maybe it just needs a little time to take off online, but that hasn’t been the case with Rodrigo so far — both “License” and “Good” had already caught like wildfire by the end of their debut weeks — and if the stellar video and VMAs performance couldn’t further stoke those flames, I’m not sure what will. Certainly rooting for it though.
[embedded content]
4. Guts leans even further into the alt-rock inclinations that Rodrigo had flashed on a few Sour songs — while she has given high-profile shoutouts to ’90s alternative acts like Rage Against the Machine in recent interviews, and even invited The Breeders to open some of her upcoming Guts World Tour arena dates. Do you think the success of Guts will lead to a greater prominence of guitar rock and/or ’90s influences in the mainstream, or does it mostly just work for Olivia Rodrigo because she’s Olivia Rodrigo?
Katie Atkinson: As much as I’d like this is all to lead to a riot-grrrrl-aissance, I think it just works particularly well for Olivia Rodrigo. She’s got the Empire Records fashion and the Alanis-nodding music video and, yes, even The Breeders on tour with her. It’s a little reminiscent of Bruno Mars cherry-picking the best of various genres and decades and finding a way to make the classics current. It’s savvy but it’s not the only reason fans are connecting to her music; it’s just part of the overall appeal.
Kyle Denis: I hope it does! You can never have too many different kinds of music making their presence known in the zeitgeist. I think Olivia obviously carries a level of fame that will give her a higher ceiling of commercial success, but I hesitate to say that the guitar rock is working for her just because she’s her. From Billie Eilish’s “Happier Than Ever” and Demi Lovato’s new Revamped album to Jelly Roll’s “Need a Favor” and Zach Bryan new self-titled album, I think we’re see a rise in guitar rock’s mainstream prominence across the board, which makes me think a larger renaissance could be on the horizon.
Jason Lipshutz: Probably a little bit of both, although I do think that we may be in for a upswing of louder guitars in pop music — thanks to Rodrigo, but also considering rock nods from pop superstars like Billie Eilish and Harry Styles, crossover country hits from Morgan Wallen and Luke Combs, and the fact that genre-splitting singer-songwriters like Noah Kahan and Zach Bryan are establishing themselves as radio presences. Rodrigo may be more well-versed in (often quite excellent) punk, alternative and hard rock, but the success of her sound can also be folded into a greater six-string trend that I’d bet hasn’t yet peaked.
Danielle Pascual: The trend has potential to go mainstream, and labels will undoubtedly try to replicate Olivia’s success with their emerging artists. However, I don’t think any push will generate near the same numbers she has pulled, especially only a couple years into her musical career. All-girl rock bands have been around forever, and most are lucky to see success on the charts these days. Even artists in her genre that have been in the game (like Avril Lavigne), haven’t seen near the same numbers Olivia has pulled with their new releases. For the current moment, Olivia is the reigning princess of pop-punk, and no one seems to be overthrowing her any time soon.
Andrew Unterberger: I doubt we’ll get a bunch of soundalikes littering the Hot 100, but the more important thing is Rodrigo re-normalizing guitar rock within popular music — a trend that’s been ongoing for basically the entire decade so far, and which she certainly already helped along the way with “Good 4 U” and a couple other Sour album cuts. In the mid-to-late 2010s, it was becoming a rarity to hear six-strings anywhere on top 40 radio or on New Music Friday; now, they’re all over the place again. Doesn’t mean next year’s VMAs are gonna look like the 1995 awards, but if there were a handful of very disparate guitar-based performances featured throughout, it would hardly be shocking.
5. When Rodrigo broke out in 2021, the Taylor Swift comparisons were obvious and plentiful — not just because of the similarities they shared as prodigious young singer-songwriters, but because Rodrigo seemed to be one of the only new 2020s artists with the commercial ceiling to potentially one day match Swift in popularity. Do you think the early returns for Guts show Rodrigo still having that kind of momentum?
Katie Atkinson: The growth album-over-album can only mean positive things for Olivia and her future. And while I think the comparisons were apt when she first broke out, given the diaristic songwriting and starting as a teen, I feel like Guts shows that she isn’t following an exact Swiftian playbook. I don’t think even Taylor could have predicted how her own career would transpire, and I’m looking forward to seeing the unique way Olivia’s unfolds as well.
Kyle Denis: I’ll say yes. She’s already established a dedicated base — as evidenced by the historic streaming numbers of “Drivers License” – and she has very clearly only expanded that base and deepened her connection with them based on the first-week numbers for Guts. Given the fact that she’s already borrowed a few familiar bits of Swift’s M.O. – including various limited-edition vinyls and Easter eggs galore – she clearly knows how to keep that momentum going, and her upcoming tour will do the same, especially on a global scale. I’m not saying O3 will open with a million copies in its first week like Swift’s Speak Now did, but I do think that Olivia is already on a better track than most of her peers.
Jason Lipshutz: No — and not because Rodrigo, who just released one of the strongest full-lengths of the year, is doing anything wrong, but because Swift is in an entirely different stratosphere than any other artist working today when it comes to modern popularity. Maybe Rodrigo gets there someday, considering her seemingly endless talent and her still-bulletproof catalog, but as she herself would likely admit, it’ll take a long, long time.
Danielle Pascual: A cautious yes. Debuting every song from your sophomore album in the Hot 100 top 40 is not a common feat. She also added 18 additional shows to her 2024 tour’s lineup, so demand is clearly there. However, I would’ve immediately answered “yes” if asked the same thing about Billie Eillish following the original success of “Bad Guy” — yet her follow-up album Happier Than Ever didn’t seem to have the same lasting impact that When We All Fall Asleep, Where Do We Go? had. In this day of TikTok as new artists go viral every day, making a decades-long impression is easier said than done. And though Guts‘ pace is great so far, will people people regard it as one of the greatest pop projects of our time? Hard to say for sure, but I personally hope so.
Andrew Unterberger: Not necessarily, but the potential is still there. When comparing their two career timelines, Swift has the (somewhat ironic) advantage of having a very flawed debut — an album that boasted some excellent singles and certainly did well, but had enough room for improvement both artistically and commercially to allow for the great leap forward of Fearless. Such a jump was near-impossible for Rodrigo here, but she’s showing her commercial growth in other ways: namely, an arena world tour that includes four dates each at MSG, the Forum and the O2 Center. The sky’s still the limit for Rodrigo, but considering Swift is barely even tethered to this planet anymore, she’ll have to continue leveling up pretty consistently — and perhaps more importantly, she’ll have to really want to keep doing so — to reach near Swift’s heights.
CRAVITY reaches No. 1 on Billboard’s Hot Trending Songs chart, powered by X, for the first time, as “Ready or Not” tops the Sept. 23-dated list.
Billboard’s Hot Trending charts, powered by X (formerly known as Twitter), track global music-related trends and conversations in real-time across X, viewable over either the last 24 hours or past seven days. A weekly, 20-position version of the chart, covering activity from Friday through Thursday of each week, posts alongside Billboard’s other weekly charts on Billboard.com each Tuesday, with the latest tracking period running Sept. 8-14.
Explore
See latest videos, charts and news
See latest videos, charts and news
“Ready or Not” was released alongside the rest of CRAVITY’s six-song EP SUN SEEKER on Sept. 11. The song’s music video, however, was teased on the StarshipTV YouTube account beginning Sept. 8.
SUN SEEKER is the K-pop group’s second EP in 2023, following Master: Piece, which premiered in March.
Multiple songs by MohBad follow, led by “Peace” at No. 2, following the Nigerian singer and rapper’s Sept. 12 death. The songs “Feel Good” and “Ask About Me” also appear in the top 10 at Nos. 5 and 8, respectively. A cause of death has not yet been released.
“Big Difference,” a track from Nicki Minaj’s upcoming album Pink Friday 2 that was premiered during the MTV Video Music Awards on Sept. 12, bows at No. 3, and Shakira’s 2002 hit “Objection (Tango)” (No. 55 on the Billboard Hot 100 that September) starts at No. 4 after it was featured in a medley of tunes she performed at the VMAs when she received the Video Vanguard Award.
Keep visiting Billboard.com for the constantly evolving Hot Trending Songs rankings, and check in each Tuesday for the latest weekly chart.
V re-enters the latest Billboard Artist 100 chart (dated Sept. 23) at No. 3, reaching the top 10 for the first time thanks to his new solo EP Layover.
The set debuts at No. 2 on the Billboard 200 with 100,000 equivalent album units earned in its opening week (Sept. 8-14), according to Luminate. It marks his first solo entry on the chart.
Explore
See latest videos, charts and news
See latest videos, charts and news
With his No. 3 return to the Artist 100 (after he hit a prior No. 30 best, in August), V becomes the seventh and final member of BTS to reach the ranking’s top 10 in a solo capacity. Here’s a recap of each member’s highpoint on the chart, listed chronologically of when each peaked in the top 10.
Artist, Peak Position, Peak Date:Jin, No. 10, Nov. 12, 2022RM, No. 6, Dec. 31, 2022Jimin, No. 1, April 8, 2023Agust D/Suga, No. 3, May 6, 2023Jung Kook, No. 5, July 29, 2023J-Hope, No. 6, Sept. 2, 2023V, No. 3, Sept. 23, 2023
[embedded content]
As a group, BTS has spent 21 weeks at No. 1 on the Artist 100, the most among groups and the fourth-most overall (dating to the chart’s 2014 start), after Taylor Swift (79), Drake (37) and The Weeknd (28).
V is also the fifth member of BTS to score a solo top 10 on the Billboard 200, after RM, Agust D/Suga, Jimin and J-Hope. Here’s a recap of every solo project by a BTS member to reach the top 10, sorted chronologically:
Artist, Title, Peak Position, Peak Date:RM, Indigo, No. 3, Dec. 31, 2022Agust D, D-Day, No. 2, May 6, 2023Jimin, Face (EP), No. 2, April 8, 2023J-Hope, Jack in the Box, No. 6, Sept. 2, 2023V, Layover (EP), No. 2, Sept. 23, 2023
BTS has tallied seven top 10s as a group on the Billboard 200, including six No. 1s: Love Yourself: Tear, Love Yourself: Answer (both in 2018), Map of the Soul: Persona (2019), Map of the Soul: 7, Be (both in 2020) and Proof (2022).
Olivia Rodrigo jumps from No. 10 to No. 1 on the Billboard Artist 100 chart (dated Sept. 23), returning as the top musical act in the U.S. for a seventh total week, and for the first time since 2021, thanks to her new sophomore album, Guts.
Explore
Explore
See latest videos, charts and news
See latest videos, charts and news
The set launches at No. 1 on the Billboard 200 with 302,000 equivalent album units earned in its opening week, according to Luminate, while its lead single “Vampire” returns to No. 1 on the Billboard Hot 100 for a second week on top.
This marks the first time that Rodrigo has tripled up at No. 1 on Billboard’s three premier charts. She’s the 16th artist to achieve the feat (dating to the Artist 100’s 2014 inception). Drake has scored the most such success, with 16 weeks ruling all three rankings concurrently, followed by Taylor Swift (15).
Most Weeks Ruling the Artist 100, Hot 100 & Billboard 200 Charts Simultaneously:(As of charts dated Sept. 23, 2023)
16, Drake
15, Taylor Swift
9, Adele
5, The Weeknd
4, Morgan Wallen
2, Ariana Grande
2, Ed Sheeran
2, Harry Styles
1, Beyoncé
1, Justin Bieber
1, Zach Bryan
1, BTS
1, Camila Cabello
1, Future
1, Kendrick Lamar
1, Olivia Rodrigo
All 12 songs from Guts land in the top 40 of the latest Hot 100, led by “Vampire” and “Bad Idea Right?” (No. 7). Rodrigo makes history as the first artist to chart all songs from two career-opening albums in the ranking’s top 40, as all 11 tracks from 2021’s Sour likewise reached the region.
[embedded content]
Also on the Artist 100, V re-enters at No. 3, reaching the top 10 for the first time as a solo act. The BTS member returns on the strength of his new solo EP Layover, which debuts at No. 2 on the Billboard 200 with 100,000 units.
V is the seventh and final member of BTS to reach the Artist 100’s top 10 in a solo capacity, after Jimin (No. 1 peak), Agust D (aka Suga; No. 3), Jung Kook (No. 5), J-Hope, RM (both No. 6) and Jin (No. 10).
The Artist 100 measures artist activity across key metrics of music consumption, blending album and track sales, radio airplay and streaming to provide a weekly multi-dimensional ranking of artist popularity.