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Gunna scores his first non-collaborative No. 1 on Billboard’s Mainstream R&B/Hip-Hop Airplay chart as “Fukumean” crowns the list dated Sept. 16. The new champ jumps from No. 3 after a 11% surge in plays that made it the most-played song on U.S. monitored mainstream R&B/hip-hop radio stations in the week ending Sept. 7, according to […]

A trio of songs from Olivia Rodrigo’s new album Guts top Billboard’s Hot Trending Songs chart, powered by X, for Sept. 16, paced by “The Grudge” at No. 1. Billboard’s Hot Trending charts, powered by X, track global music-related trends and conversations in real-time across X, viewable over either the last 24 hours or past […]

We’d gone over a year — 54 weeks total — without a rap No. 1 on the Billboard Hot 100. But for the first time since Nicki Minaj’s “Super Freaky Girl” reigned in Aug. 2022, a song tops both Billboard‘s Hot Rap Songs and Hot 100 charts simultaneously: Doja Cat‘s “Paint the Town Red.”

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“Red” hits No. 1 in its fifth week on the Hot 100, after having debuted at No. 15 about a month earlier. It’s the second No. 1 on the chart for Doja, following “Say So” with Nicki Minaj in 2020, and also breaks a streak of four consecutive country songs atop the listing — most recently Zach Bryan’s Kacey Musgraves-featuring “I Remember Everything,” which slips to No. 2 this week.

Why did “Red” explode to No. 1? And will it open the floodgates for rap singles atop the Hot 100 from here? Billboard staffers discuss these questions and more below.

1. After a good-but-not-great No. 15 debut on the Hot 100, “Paint the Town Red” has bounded to the Hot 100’s top spot in just five total weeks. What do you think is the biggest reason behind its quick post-release growth?

Rania Aniftos: Dare I say the controversy surrounding it? They say all press is good press, and the question of whether or not Doja has actually been possessed by the devil has certainly helped the song’s growth by getting people to stream and see what all the drama is about.

Kyle Denis: The biggest reason is probably the fact that it’s a genuinely catchy song. The hook is sticky, but it’s the Dionne Warwick “Walk on By” sample that really makes it an earworm. It also helps that Doja has kept her name and brand at the forefront of people’s minds ever since she first started teasing “Attention” a few months ago. By folding some fans’ valid concerns of her allegedly problematic boyfriend into a larger commentary on parasocial relationships, Doja has been able to reap the benefits of the age-old “all press is good press” truism.

Elias Leight: These days, five weeks might not even be considered “quick” growth — in recent years there has been so much emphasis in the music industry on seeing explosive movement from singles right away. This has led some executives to worry that great songs with the chance to become real hits are being abandoned too quickly if they don’t show that type of eruption in their first week or even first day of release. That backdrop makes the trajectory of “Paint the Town Red” all the more interesting: It has grown regularly week-over-week at streaming, radio and TikTok, eventually working its way to No. 1. In most cases, that’s probably a more sustainable path than arriving at the top.

Jason Lipshutz: Based on my own interaction with the song — going from “Huh, interesting track with a cool sample” to “Wow, one of the best singles of the year” in the span of a few weeks — I’d guess that “Paint the Town Red” revealed its subtle strengths as both a radio smash and streaming playlist staple to enough listeners since its release. Those two back-to-back refrains pack quite the one-two punch, Doja Cat jams multiple memorable lines into her verses, and the Dionne Warwick loop will be stuck on repeat in your head for an hour after a single listen. “Paint the Town Red” may not have been an immediate smash, but it’s a smash nonetheless.

Andrew Unterberger: “Red” is indeed a grower, and Doja has always been masterful at promoting singles in both the traditional ways (music videos, radio promotion, memorable performances) and the more modern ways (stoking virality, inserting herself into the pop conversation). You don’t see a lot of singles with trajectories like this in the 2020s, but it’s not a fluke that so many of the ones that do come from Doja Cat.

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2. Though Doja Cat has been as unavoidable on radio and streaming as nearly any pop artist of the 2020s, this is only her second No. 1 hit, following “Say So” in 2020 with Nicki Minaj. Do you think the second No. 1 (and first unaccompanied one) is meaningful for her career, or is it just another one of many accomplishments she’s notched in recent years? 

Rania Aniftos: Coming off a wildly successful year following Planet Her’s release, I would consider a Hot 100 chart topper for a new album era incredibly meaningful. It indicates that she’s established herself in popular music as an artist that has broken away from relying on social media virality for a hit — ultimately leading to a long-lasting career.

Kyle Denis: I think that this is definitely a meaningful moment for Doja’s career. For one, “Paint the Town Red” is far enough removed from the disco-tinged frothiness of “Say So” that the song proves that she can top the Hot 100 without relying on that specific sound. Moreover, this second chart-topper comes during a period of intense controversy and notoriety for Doja. While a healthy chunk of all that is self-inflected, achieving a Hot 100 No. 1 during a time when many people are turning against you is certainly nothing to scoff at. The success of “Paint the Town Red” is proof of the durability of Doja’s brand.

Elias Leight: A second No. 1 is helpful as a way of separating an artist from the competition. Especially when viral trends drive so much listening activity, a wide range of artists can top the Hot 100 once. But it’s hard to catch that sort of wave twice. Returning to the peak of the Hot 100 for a second time helps demonstrate an act’s staying power.

Jason Lipshutz: The fact that Doja Cat’s Planet Her didn’t include a No. 1 hit on the Hot 100 represented more of a chart bug than a feature, considering the fact that five singles from her 2021 album reached the top 20 (and a post-Planet Her single, the Elvis track “Vegas,” did so as well). “Paint the Town Red” reaching the top of the chart continues the momentum of her last era, but Doja Cat was clearly a multi-platform superstar regardless of where the single ended up peaking, making the new No. 1 the latest in a string of wins rather than a professional game-changer.

Andrew Unterberger: It’s a big deal in that her Scarlet era already has a top-line item on its resumé that (somehow) her Planet Her era never accomplished — and when you’re a pop star of Doja Cat’s size and stature and still climbing to new heights, that’s fairly major. But mostly it just means that even with some of the PR hits she’s taken this year, she’s not due for a commercial fall-off anytime soon.

3. “Paint the Town Red” is the first song classified by Billboard as a rap song to top the Hot 100 in over a year. Does it being the song to break that streak say anything to you about rap’s current place in the mainstream? 

Rania Aniftos: Maybe my finger is way off the pulse, but I’m so shocked at this information. Rap is such a mainstay in the music world to me, that it’s so strange that Ice Spice, Lil Durk or Lil Wayne haven’t climbed up the chart with their releases this year. If anything, “Paint the Town Red” will hopefully remind fans that rap isn’t going away, even if it took a break from the No. 1 spot.

Kyle Denis: I think this tells us that we’re moving back to a place where aggressively pop-rap songs are the hip-hop tracks to top the Hot 100. While that’s always been the case to some extent, with two pop-rap songs being hip-hop’s most recent Hot 100 chart-toppers, it feels like we’re moving further away from a time when less obviously crossover-aimed rap songs from likes of Migos or Travis Scott could top the chart and spend lengthy stays in its upper regions. Moreover, the Hot 100 success of “Paint” tells us that hip-hop is doing just fine, its reach and influence will always be present — just in a different way than it has been for the past 7-10 years.

Elias Leight: Doja Cat had a lot of success in the past with straightforward pop hits like “Say So,” “Kiss Me More,” and “Woman.” That previous history means that top 40 radio is leading the charge on her airplay, with “Paint the Town Red” charting higher on this week’s Pop Airplay chart (No. 14) than R&B/Hip-Hop Airplay (No. 19). Most rappers aren’t able to rely on that much pop radio support. 

Jason Lipshutz: Yes and no: 2023 has been an up-and-down one for popular rap music, with some commercially underwhelming A-list projects and false starts by rising stars balanced out by a multi-week Billboard 200 chart-topper like Travis Scott’s Utopia and an exciting new mainstream voices like Ice Spice. I’m very happy to see a rap song finally top the Hot 100 in 2023, although it’s worth pointing out that several others — from Lil Durk and J. Cole’s “All My Life” to Gunna’s “Fukumean” to Travis Scott and Drake’s “Meltdown” — reached the top 5 in recent months, often blocked from the No. 1 spot by a smattering of dominant country singles. So while country has enjoyed an astonishing year at the top of the Hot 100, it’s not like rap music has been absent from the chart’s upper reaches.

Andrew Unterberger: It maybe says something about how major crossover appeal is more necessary than it used to be for a rap song to break through on this level. Back at hip-hop’s streaming peak in the late ’10s, rap songs could pile up stream counts so massive, often immediately, that it almost wouldn’t matter if they worked on top 40 or ended up spreading to widely varied corners of the internet. Now, with hip-hop’s streaming dominance a little less overwhelming, it’s not so easy to get there without some help from those other formats and audiences.

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4. Meanwhile, the prior rap artist to score a Hot 100 No. 1 — Doja’s old “Say So” co-star Nicki Minaj — bows at No. 22 this week on the Hot 100 with the much more pop-focused “Last Time I Saw You.” Do you see that song having a “Paint”-like trajectory of chart growth, or will it likely fade from its debut?

Rania Aniftos: While I think “Last Time I Saw You” will likely fade, Nicki’s definitely got more up her sleeve. I wouldn’t be surprise if a number of songs off her upcoming album turn into instant classics.

Kyle Denis: I think there are definitely a few parts of “Last Time I Saw You” that have the potential to go viral and boost the song’s overall consumption. As it stands, however, unless there’s a concerted push to truly market this as Minaj’s current radio single, I think it’ll fade from here. Maybe it gets a bit of a second wind when Pink Friday 2 arrives.

Elias Leight: Predicting growth is pretty impossible at a time when a viral trend can start more or less randomly. That said, Minaj’s recent chart successes have tended to start strong and then fade, rather than grow over time. She effectively teased “Super Freaky Girl” before it was out; the single debuted at No. 1 but then fell to No. 7 in its second week. Her version of “Princess Diana” with Ice Spice opened at No. 4 and then fell to No. 29. “Barbie World,” another Ice Spice collaboration, opened at No. 7 and then dropped to No. 35. The buzz around the Barbie film helped it rebound as high as No. 8, where it stayed for two weeks, but it never matched its first-week peak.

Jason Lipshutz: “Last Time I Saw You” is a smart change-up for Nicki Minaj, a melodic pop-rap track that’s downright hummable and genuinely heartfelt. Minaj found a lot of recent success on the Hot 100 prior to her latest single, but “Last Time I Saw You” is emotionally affecting than her more club-friendly fare; I’d bet that listeners return to it in the coming weeks, and while I’m not sure it will reach the top spot like “Paint the Town Red,” I could certainly see the track growing into the top 10.

Andrew Unterberger: To be honest, I don’t have a good read on this song yet — I like it, but it’s so low-key and unassuming by Minaj’s standards that I’m not totally sure where it fits for her in a pop single sense. I could very easily see it creeping its way into streaming and radio playlists and becoming a slow-burning hit in the fall, but I could also see it fading rapidly and becoming one of those in-between Nicki Minaj singles that kinda gets left behind within her discography.

5. Now that the streak is over, do you see rap making up for lost time with a flurry of No. 1s to follow over the remaining months of 2023 — or has popular music shifted too much in the past couple years for it a return to that state of supremacy to be likely? 

Rania Aniftos: I can’t help but feel like we’re about to enter a new era for rap music. It feels like all the power players are in the kitchen cooking, and I’m so excited to see how new releases from Nicki Minaj, Cardi B and hopefully Drake will affect the charts. 

Kyle Denis: I think 2023, in general, has been a year of transition for mainstream music. There were a lot of great achievements across major charts from a variety of genres this year. I don’t think we’ll suddenly see a surge of hip-hop Hot 100 No. 1s, but those songs will still make it to the top 10 with relative ease. The sound of popular music is definitely shifting, but I’m not convinced it’s landed on a destination yet.

Elias Leight: There’s a Drake album coming soon; it would be surprising if that doesn’t yield a No. 1 hit for at least a week. But due to Doja Cat’s history in pop, her success probably doesn’t signify a larger shift for hip-hop. 

Jason Lipshutz: I mean, we have a Drake album about to arrive, a Nicki Minaj album slated for the fall, a Cardi B album (hopefully, maybe) on the horizon, and… oh yeah, a flurry of Doja Cat songs joining “Paint the Town Red” on Scarlett. I’d be pretty surprised if we don’t get at least two more rap chart-toppers before the end of 2023.

Andrew Unterberger: I don’t really see it happening. Certainly there are some rap heavy hitters still yet to deliver on long-promised projects this year, and a No. 1 or two may follow from there. But in this sort of transitional period for mainstream hip-hop, with audiences more fragmented than ever, it seems like four-quadrant support for any one rapper or rap hit is harder to come by than it has been in a long while. At the very least, I don’t think the rap-monopolized landscape of 2018 is coming back anytime soon.

Regional Mexican group Calle 24 debuts on the Billboard Hot 100 chart (dated Sept. 16) for the first time, thanks to its new collaboration with Chino Pacas and Fuerza Regida, “Que Onda.”

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The song, released Aug. 30 via Street Mob Records, debuts at No. 61 with 7.6 million official U.S. streams in the Sept. 1-7 tracking week, according to Luminate. It also starts at No. 8 on the Hot Latin Songs chart (which uses the same methodology as the Hot 100), becoming the first top 10 for all three credited artists.

Internationally, “Que Onda” debuts at No. 31 on both the Billboard Global 200 and Billboard Global Excl. U.S. charts – and launches at No. 1 on the Mexico Songs chart.

“It has been an unforgettable experience, which doesn’t happen twice in life,” Calle 24 leader Diego Millán tells Billboard. “I am always delighted to work with my partners, with Jesús [Paz, a.k.a. JOP] and my friend Chinito Pacas. We are like a family and we are very excited to be doing this and to be in the top 100 of Billboard. This achievement is something that God has allowed us, and we are here to go further. Thank you very much to all the people who continue to support us and don’t forget the name Calle 24, we are coming strong. ¡Arriba México y arriba la bandera!”

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Calle 24 launched in Ciudad Cuauhtémoc, Chihuahua, Mexico. Before this week, the band had charted two songs on Billboard‘s charts, both on Hot Latin Songs in 2021: “Que Esta Pasando,” with Fuerza Regida, reached No. 36 that May and “Los Mire Con Talento,” with Fuerza Regida and Luis R. Conriquez, hit No. 24 that November.

The group has released two studio albums: Mi Nueva Familia in 2021 and Amore De La Calle this March.

Street Mob Records, which includes Calle 24 on its roster and was founded by Fuerza Regida’s frontman Jesús Ortiz Paz (a.k.a. JOP), signed a distribution deal with Cinq Music to distribute the label and expand its opportunities in branding, sponsorships, merchandising and synchronization in June. The deal will also include new talent discovery. The label also features Chuy Montana, Linea Personal and Ángel Ureta.

“Que Onda” is the seventh song on Street Mob to debut on the Hot 100. Here’s a chronological recap:

Fuerza Regida X Grupo Frontera, “Bebe Dame” (No. 25 peak; Jan. 28, 2023)Chino Pacas, “El Gordo Trae El Mando” (No. 58; May 20, 2023)Fuerza Regida & Peso Pluma, “Igualito A Mi Apa” (No. 80; May 6, 2023)Fuerza Regida X Natanael Cano, “Ch Y La Pizza” (No. 68; May 6, 2023)Fuerza Regida, “TQM” (No. 34; June 17, 2023)Fuerza Regida, “Sabor Fresa” (No. 26; July 8, 2023)Calle 24 x Chino Pacas x Fuerza Regida, “Que Onda” (No. 61; Sept. 16, 2023)

With summer over — not officially until Sept. 23, but for chart purposes, given that Billboard has announced the season-end 2023 Songs of the Summer chart, which measures performance on the weekly Billboard Hot 100 between Memorial Day and Labor Day — a look at the season’s biggest hits reveals what the average summer smash sounded like this year.

Here is an analysis of compositional characteristics of the survey’s top 10 titles at the season’s close.

To recap, here is a rundown of the Songs of the Summer chart’s top 10 for 2023:

No. 1, “Last Night,” Morgan Wallen

No. 2, “Fast Car,” Luke Combs

No. 3, “Calm Down,” Rema & Selena Gomez

No. 4, “Flowers,” Miley Cyrus

No. 5, “All My Life,” Lil Durk feat. J. Cole

No. 6, “Cruel Summer,” Taylor Swift

No. 7, “Karma,” Taylor Swift feat. Ice Spice

No. 8, “Snooze,” SZA

No. 9, “Kill Bill,” SZA

No. 10, “Fukumean,” Gunna

Summer of Love

Love was in the air in the summer of 2023. A hefty 80% of the Song of the Summer chart’s season-wrapping top 10 features a love/relationship lyrical theme, with the majority sporting romantic subject matter. Among them, Morgan Wallen’s “Last Night” chronicles his continued desire for his love interest despite their push-and-pull dynamic, while Miley Cyrus’ “Flowers” and SZA’s “Kill Bill” narrate breakups.

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Also notably, and logically, the positive songs about love include major-key tonalities, while the more negative ones are complemented by minor-key tonalities.

Meanwhile, only one song in the above 10 leaned toward the platonic end of the spectrum: Taylor Swift’s “Karma” featuring Ice Spice.

Playing Hooky, in the Summer

The biggest summer 2023 hits were earworms, even if they weren’t as fast as might be expected.

While all hits in the season-end Songs of the Summer top 10 feature catchy hooks, largely in their choruses, many bolster their hook presence by hitting the listener with a notable, recognizable hook in their intros (60% of the 10 songs) and/or following their choruses with additional post-chorus hook reiteration (70%).

Meanwhile, when most people think of summer hits, they typically think of uptempo, highly danceable bangers. However, summer 2023’s top 10 includes only three songs at over 100 beats per minute, two of which have a notable dance/club influence: “Flowers” (118 BPM) and Rema and Selena Gomez’s “Calm Down” (107 BPM).

The greatest share of the summer’s top 10 is 80-99 BPM (four titles), including Luke Combs’ “Fast Car,” Swift’s “Cruel Summer” and “Karma,” and “Kill Bill.”

The remaining three songs are under 79 BPM, comprising the R&B/hip-hop hits “All My Life” by Lil Durk featuring J. Cole, SZA’s “Snooze” and Gunna’s “Fukumean.”

Familiar, But Unique

While hit songs possess a host of commonalities that make them familiar to audiences and enable them to easily connect, most also have unique qualities that help them stand out from the pack. The 10 biggest hits on 2023’s Songs of the Summer chart for the season are no exception. Among them:

“Fast Car” has an unusual song structure by today’s mainstream standards. Most hits are based on a core A-B-A-B-C-B form (whereby A: verse; B: chorus; and C: bridge). “Fast Car,” written by Tracy Chapman, who first sent the song to the weekly Hot 100’s top 10 in 1988, features an I-A-T-A-T-A-T-PC-T-B-T-A-T-B-T-A-T-B-T-PC-O form (I: intro; A: verse; T: turnaround; PC: pre-chorus; B: chorus; and O: outro).

“Calm Down” features standout qualities including repetition, more than the other season-end summer top 10s, and the weekly Hot 100’s top 10 in general; hooks combining proper language, slang, nonsensical phrases and Nigerian Pidgin; and an Afrobeats sound, which, despite gaining traction, is still relatively uncommon in the Hot 100’s top 10 and is not present in any of the other top 10 songs of the summer.

Plus, “Flowers” is the only top 10 hit of the summer with a 1970s disco influence and “Kill Bill” features an atypical ‘60s psychedelic influence, while its lyrical hook (“I might kill my ex”) definitely sets it apart.

David and Yael Penn are the co-founders of Hit Songs Deconstructed. In 2022, Hit Songs Deconstructed and fellow song analysis platform MyPart partnered to launch ChartCipher, a new platform analyzing hit songs, as defined by Billboard’s charts.

Taylor Swift spends a record-extending 79th week at No. 1 on the Billboard Artist 100 chart (dated Sept. 16), thanks to nine albums on the Billboard 200, all in the top 50, and three songs on the Billboard Hot 100.
Leading Swift’s titles on the Billboard 200 are Midnights at No. 5, with 45,000 equivalent album units earned Sept. 1-7, according to Luminate, and Lover at No. 9 (41,000 units).

Here’s a recap of Swift’s current Billboard 200-charting albums.

Rank, Title:

No. 5, Midnights

No. 9, Lover

No. 11, Speak Now (Taylor’s Version)

No. 12, Folklore

No. 14, 1989

No. 17, Reputation

No. 21, Red (Taylor’s Version)

No. 31, Evermore

No. 50, Fearless (Taylor’s Version)

Swift is the only artist in chart history to chart at least nine albums in the top 50 of the chart simultaneously. This is the 19th time she’s achieved the feat.

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On the Hot 100, Swift charts three songs: “Cruel Summer” (up 5-4, after reaching No. 3), “Anti-Hero” (32-20, after spending eight weeks at No. 1) and “Karma” featuring Ice Spice (25-24, after hitting No. 2).

Jimmy Buffett re-enters the Artist 100 at No. 3, powered by catalog gains following his death on Sept. 1. He previously reached a No. 2 best on the chart in June 2020, when his album Life on the Flip Side opened at No. 2 on the Billboard 200. His seminal hit “Margaritaville” re-enters the Hot 100 at No. 38, marking its first appearance on the chart since its original run in 1977, when it climbed to No. 8. It also re-enters the Digital Song Sales chart at No. 1, becoming the top-selling song of the week with 16,000 downloads sold. Buffett additionally places two albums on the Billboard 200: Songs You Know By Heart: Jimmy Buffet’s Greatest Hit(s) re-enters at No. 4, a new high (52,000 units) — it’s also No. 1 on Top Album Sales — while Boats Beaches Bars & Ballads re-enters at No. 53.

Rounding out the Artist 100’s top five, Zach Bryan dips to No. 2, as his self-titled album tops the Billboard 200 for a second week (115,000 units); Morgan Wallen drops 3-4; and Luke Combs rises 6-5.

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.

Doja Cat is on pace for a second week at No. 1 on the U.K. singles chart with “Paint The Town Red” (via Ministry of Sound), though she faces a real challenge from Olivia Rodrigo.

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Last Friday, Sept. 8, Doja Cat’s latest hit leaped to the top of the Official U.K. Singles Chart, for her first-ever leader in that territory.

According to the Official Charts Company, “Paint The Town Red” maintains a slim advantage at the midweek point – a little over 1,000 chart units.

Rodrigo’s collects positions No. 2 and No. 3 on the chart blast with “Vampire” and “Bad Idea Right”, respectively. Another, third track from her sophomore album is set to enter the top 10, “All American Bitch”. The Guts (Geffen) cut starts at No. 9 on the Official Chart Update, and is set to become the week’s highest debut. If it holds its spot, “All American Bitch” will give Rodrigo a seventh top tier effort in the U.K.

Guts, meanwhile, is streaking to No. 1 on national albums survey. As previously reported, the new release crushes the midweek U.K. albums chart with more sales and streams than the rest of the top 10 combined.

Based on sales and streaming data published by the OCC, Fred Again and Obongjayar’s “Adore U” (Atlantic) could climb 10-6, for a new high.

Kenya Grace cracked the U.K. chart for the first time last week with her viral number “Strangers” (FFRR), which entered at No. 20. “Strangers” is on the up, rising to No. 14 on the midweek survey.

Finally, Leigh-Anne should nab her second top 40 with the Afrobeats-influenced single “My Love” (Warner Records) featuring Ayra Starr. It’s new at No. 21 on the chart blast.

As a member of Little Mix, Leigh-Anne landed five U.K. No. 1 singles and a chart-topping album. Her debut solo single “Don’t Say Love” peaked at No. 11 on the national tally earlier this year.

Olivia Rodrigo’s Guts (via Interscope) will be near-impossible to catch in the race to the U.K. chart title.
Based on midweek sales and streaming data published by the Official Charts Company, Guts is currently outselling the rest of the top 10 combined.

At the halfway mark, Guts had accumulated over 33,000 chart units, the OCC reports. It’s virtually assured top spot when the Official U.K. Albums Chart is published late Friday, Sept. 15.

The followup to Sour, Rodrigo’s history-making debut from 2021, Guts has already yielded her third U.K. No. 1 single, “Vampire,” and a sixth top 10 hit, “Bad Idea Right?”

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Rodrigo holds a stack of U.K. chart records. When Sour and “Good 4 U” reached No. 1 in the same week in May 2021, she became the youngest solo artist in history to nab the chart double, aged 18 years and 3 months.

Sour also set a U.K. benchmark for the most first-week streams for a debut album. The following month, in June 2021, Rodrigo became the first female solo artist to claim three simultaneous U.K. top 5 singles with “Good 4 U,” “Déjà vu” and “Traitor.” And when “Vampire” summited this year, she was anointed as the female solo artist with the most U.K. No. 1 singles this decade.

Guts isn’t the only new release on track to impact the U.K. top 10.

Former Moloko singer Roisin Murphy is set to start at No. 2 with Hit Parade (Ninja Tune), her sixth solo studio album. If it holds its course, it would give the Irish artist her first solo top 10 appearance.

Meanwhile, the Coral’s 11th album Sea Of Mirrors (Modern Sky/Run On) is close behind at No. 3 on the Official Chart Update. The Wirral, England band should add to their six U.K. top 10 appearances. A second entry from the indie act is approaching the top 10, Holy Joe’s Coral Island Medicine Show, set to arrive at No. 13.

Electronic dance music veterans the Chemical Brothers could capture a 10th U.K. top 10 with For That Beautiful Feeling (EMI), new at No. 4 on the chart blast, while BTS singer V could complete an all-new top 5 with solo release Layover (Interscope), new at No. 5 on the midweek tally.

Finally, The xx’s Romy could land at No. 6 with her solo debut Mid-Air (Young), and Fleetwood Mac’s newly released concert recording from 1977, Rumours Live (Rhino), could score the Hall of Famers a 14th top 10 collection. It’s new at No. 9 on the chart blast.

Jimmy Buffett’s signature song “Margaritaville,” among his many classics, returns to the Billboard Hot 100 this week, re-entering at No. 38 on the Sept. 16-dated ranking. It reached No. 8 in July 1977 and had last appeared on the chart dated Aug. 27, 1977.

Meanwhile, Buffett posthumously boasts the week’s top-selling song with the single, as well as the top-selling album, Songs You Know By Heart: Jimmy Buffett’s Greatest Hit(s).

As previously reported, the singer-songwriter died Sept. 1 at age 76. As announced on his website and social media accounts, “Jimmy passed away on the night of September 1st surrounded by his family, friends, music and dogs,” the Sept. 2 post reads. “He lived his life like a song till the very last breath and will be missed beyond measure by so many.”

“Margaritaville” contributes to Buffett’s big week on multiple Billboard charts, as fans flocked to his trademark feel-good sound following his death. In the Sept. 1-7 tracking week, his song catalog surged by 1,476% to 78.6 million official on-demand streams and 7,022% to 103,000 paid downloads in the U.S., according to Luminate. His albums collectively soared by 2,378% to 109,000 equivalent album units in that span. Further, his all-format radio airplay audience bounded by 338% to 21.2 million.

‘Margaritaville’ & More on Song Charts

“Margaritaville” gained by 720% to 8.1 million streams; 954% to 1.9 million in airplay audience among Hot 100-reporting stations; and 8,415% to 16,000 sold in the tracking week. It re-enters as Buffett’s first No. 1 on the Digital Song Sales chart and at No. 41 on Streaming Songs. It’s also No. 1 on Country Digital Song Sales and Rock Digital Song Sales and No. 10 on Rock Streaming Songs and No. 17 on Country Streaming Songs.

Before this week, Buffett last charted on the Hot 100 dated Oct. 8, 2011, as featured on Zac Brown Band’s No. 18-peaking “Knee Deep,” the most recent of 13 songs, including seven top 40 hits, that he sent onto the survey during his lifetime.

Along with its Hot 100 re-entry, “Margaritaville” places at No. 7 on Hot Rock Songs, No. 9 on Hot Rock & Alternative Songs and No. 14 on Hot Country Songs, all of which share the Hot 100’s multimetric methodology.

Alan Jackson and Buffett’s “It’s Five O’Clock Somewhere” also re-enters Hot Country Songs, at No. 22, with 6.1 million streams (up 346%), 2.3 million in airplay audience (up 66%) and 7,000 sold (up 3,543%). The song dominated the chart for eight weeks in 2003.

Plus, Buffett’s “Cheeseburger in Paradise,” from 1978, hits Hot Rock Songs at No. 19 and Hot Rock & Alternative Songs at No. 22, with 4.5 million streams (up 1,454%), 554,000 in radio reach (up from a nominal sum) and 6,000 sold (up 5,402%).

With 12 Buffett titles on the latest Digital Song Sales chart, here’s a recap:

No. 1, “Margaritaville,” 16,000 sold

No. 3, “Come Monday,” 14,000

No. 6, “It’s Five O’Clock Somewhere,” with Alan Jackson, 7,000

No. 8, “Cheeseburger in Paradise,” 6,000

No. 10, “Changes in Latitudes, Changes in Attitudes,” 6,000

No. 11, “A Pirate Looks at Forty,” 5,000

No. 15, “Son of a Son of a Sailor,” 4,000

No. 26, “Fins,” 3,000

No. 38, “Southern Cross (Live),” 2,000

No. 44, “Why Don’t We Get Drunk,” 1,900

No. 46, “Volcano,” 1,700

No. 48, “Brown Eyed Girl (Live),” 1,700

‘Greatest Hit(s)’ & ‘Ballads’ on Album Charts

On the Billboard 200, Songs You Know By Heart: Jimmy Buffett’s Greatest Hit(s), featuring “Margaritaville” (as referenced in the set’s wry title), re-enters at No. 4, up 2,106% to 52,000 equivalent album units Sept. 1-7, according to Luminate. Released in 1985, the album previously peaked at No. 100 that year. The collection also holds the No. 2 spot on Top Country Albums, Top Rock & Alternative Albums, Top Rock Albums and Americana/Folk Albums. With 15,000 copies sold, it re-enters Top Album Sales at No. 1, ranking as the week’s top-selling album among all genres.

Additionally, Boats Beaches Bars & Ballads, Buffett’s best-of release from 1992 that includes rarities and previously unreleased songs, re-enters the Billboard 200 at a new No. 53 high, with 15,000 units (up 4,750%). It’s also No. 11 on Top Rock Albums and No. 15 on Top Rock & Alternative Albums.

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“I’m glad I got 50 years of albums in me,” the Billboard alum mused in 2020. “This thing’s been an absolute joy. We’ve figured out ways to keep it going. I think it’s really about learning to be a performer before anything else and always trying to better yourself on stage. That’s the key, that core experience, and what’s kept me going. It’s been a good run.”

Doja Cat’s “Paint the Town Red” reaches No. 1 on the Billboard Global 200 chart (dated Sept. 16). It’s her first leader on the list, since it began in September 2020, and the first rap No. 1 on the ranking this year.
Meanwhile, Jung Kook’s “Seven,” featuring Latto, adds an eighth week at No. 1 on the Billboard Global Excl. U.S. chart, encompassing its entire run on the survey so far.

Elsewhere, Japanese band King Gnu notches its first Global Excl. U.S. top 10, as “Specialz” debuts at No. 8.

The Billboard Global 200 and Billboard Global Excl. U.S. charts rank songs based on streaming and sales activity culled from more than 200 territories around the world, as compiled by Luminate. The Global 200 is inclusive of worldwide data and the Global Excl. U.S. chart comprises data from territories excluding the United States.

Chart ranks are based on a weighted formula incorporating official-only streams on both subscription and ad-supported tiers of audio and video music services, as well as download sales, the latter of which reflect purchases from full-service digital music retailers from around the world, with sales from direct-to-consumer (D2C) sites excluded from the charts’ calculations.

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New Coat of ‘Paint’ Atop Global 200

Doja Cat’s “Paint the Town Red” rises 2-1 on the Billboard Global 200, with 84 million streams (up 31%) and 12,000 sold (up 37%) worldwide Sept. 1-7. The viral hit is the rapper/singer’s first No. 1 since the list launched in September 2020, among six top 10s. It’s also the first rap leader this year; most recently for the genre before, Drake and 21 Savage’s “Rich Flex” topped the tally dated Nov. 19, 2022, upon its debut.

Jung Kook’s “Seven,” featuring Latto, drops to No. 2 on the Global 200, after spending its first seven weeks on the chart at No. 1; Taylor Swift’s “Cruel Summer” keeps at its No. 3 high; Myke Towers’ “LaLa” lifts 7-4, after reaching No. 3; and Dua Lipa’s “Dance the Night” holds at No. 5, after hitting No. 3.

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Eight Weeks for ‘Seven’ at No. 1 on Global Excl. U.S.

Jung Kook’s “Seven,” featuring Latto, leads the Billboard Global Excl. U.S. chart for an eighth week, with 83.8 million streams (down 5%) and 3,000 sold (down 58%) outside the U.S. Sept. 1-7. Upon its debut, the song became the first No. 1 on the chart, as well as the Global 200, for a member of BTS as a soloist.

The entire Global Excl. U.S. top five holds in place, with “Seven” followed by Doja Cat’s “Paint the Town Red,” at its No. 2 high; Myke Towers’ “LaLa,” at No. 3 after it led for a week in July; Taylor Swift’s “Cruel Summer,” at its No. 4 best; and Dua Lipa’s “Dance the Night,” at No. 5 after it hit No. 3.

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Plus, King Gnu claims its first Global Excl. U.S. top 10, as “Specialz” debuts at No. 8 with 15.9 million streams and 30,000 sold outside the U.S. Sept. 1-7. The Japanese group logs its fourth top 40 entry on the chart, having previously peaked as high as No. 26 with “Chameleon” in March 2022.

The Billboard Global 200 and Billboard Global Excl. U.S. charts (dated Sept. 16, 2023) will update on Billboard.com tomorrow (Sept. 12). For both charts, the top 100 titles are available to all readers on Billboard.com, while the complete 200-title rankings are visible on Billboard Pro, Billboard’s subscription-based service. For all chart news, you can follow @billboard and @billboardcharts on both X, formerly known as Twitter, and Instagram.

Luminate, the independent data provider to the Billboard charts, completes a thorough review of all data submissions used in compiling the weekly chart rankings. Luminate reviews and authenticates data. In partnership with Billboard, data deemed suspicious or unverifiable is removed, using established criteria, before final chart calculations are made and published.