Chart Beat
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Morgan Wallen’s “Last Night” this week becomes one of only four singles in the history of the Billboard Hot 100 to log 16 or more weeks at No. 1. So, does that mean it’s a lock for a Grammy nomination for record of the year? Its chances are good, but Grammy voters don’t always follow the lead of music fans.
The three previous singles to spend 16 or more weeks at No. 1 – Lil Nas X’s “Old Town Road” (featuring Billy Ray Cyrus), Luis Fonsi and Daddy Yankee‘s “Despacito” (featuring Justin Bieber) and Mariah Carey and Boyz II Men’s “One Sweet Day” – were all nominated for record of the year, though none of them won.
And numerous long-running No. 1 hits weren’t nominated in any Grammy categories. The list includes Los Del Rio’s “Macarena (Bayside Boys Mix),” Joan Jett & the Blackhearts’ “I Love Rock n’ Roll,” Rod Stewart’s “Tonight’s the Night (Gonna Be Alright),” Andy Gibb‘s “Shadow Dancing,” Chic‘s “Le Freak,” Bobby Lewis’ “Tossin’ and Turnin’” and Tommy Edwards‘ “It’s All in the Game.”
“Last Night” is a multi-format hit, which will work in its favor. And Wallen has been one of the most dominant record sellers of the past few years. But he has yet to even be nominated for a Grammy, so there’s still no evidence that Grammy voters are ready to move on from the 2021 incident where he was videotaped using a racial slur. Also, another country smash, Luke Combs’ “Fast Car,” is a formidable record of the year candidate. Both could be among the eight nominees in this category, but that would defy recent Grammy patterns. We haven’t had a year with two or more country hits nominated for record of the year since 1977.
Let’s look back at the five (more in the case of ties) longest-running No. 1 hits of each of the last eight decades (or partial decades) to see how they fared at the Grammys. Conveniently, the Hot 100 and the Grammys started in the same year – 1958. That first Grammy eligibility year began on Jan. 1 of that year. The Hot 100 launched seven months later (on Aug. 4).
We show the number of nominations each song received and list those categories. We also show the number of wins—and also list those categories. (We counted only nominations for that specific track or song, not for the album on which it appeared or the artist in general, or other tracks by that artist.)
The 2020s (2020-23 to date)
Morgan Wallen’s “Last Night”: 16 weeks at No. 1 (so far) in 2023. Grammy status to be determined.
Harry Styles’ “As It Was”: 15 weeks at No. 1 in 2022. 4 nods (record of the year, song of the year, best pop solo performance, best music video); no wins (though Styles won album of the year).
Mariah Carey’s “All I Want for Christmas Is You“: 12 weeks at No. 1 from 2019-23. No nods. Note: Carey was nominated for best female pop vocal performance for “Hero” in 1994, when this was first released and thus eligible.
Roddy Ricch’s “The Box”: 11 weeks at No. 1 in 2020. 3 nods (song of the year, best melodic rap performance, best rap song); no wins.
BTS’ “Butter”: 10 weeks at No. 1 in 2021. 1 nod (best pop duo/group performance); no wins.
Adele’s “Easy on Me”: 10 weeks at No. 1 in 2021-22. 4 nods (record of the year, song of the year, best pop solo performance, best music video); one win (best pop solo performance).
The 2010s
Lil Nas X’s “Old Town Road” (featuring Billy Ray Cyrus): A record 19 weeks at No. 1 in 2019. 3 nods (record of the year, best pop duo/group performance, best music video), 2 wins (best pop duo/group performance, best music video).
Luis Fonsi & Daddy Yankee’s “Despacito” (featuring Justin Bieber): 16 weeks in 2017. 3 nods (record of the year, song of the year, best pop duo/group performance); no wins.
Mark Ronson’s “Uptown Funk!” (featuring Bruno Mars): 14 weeks in 2015. 2 nods (record of the year, best pop duo/group performance); 2 wins (record of the year, best pop duo/group performance).
Robin Thicke’s “Blurred Lines” (featuring T.I. + Pharrell): 12 weeks in 2013. 2 nods (record of the year, best pop duo/group performance); no wins.
Wiz Khalifa’s “See You Again” (featuring Charlie Puth): 12 weeks in 2015. 3 nods (song of the year, best pop duo/group performance, best song written for visual media); no wins.
The Chainsmokers’ “Closer” (featuring Halsey): 12 weeks in 2016. 1 nod (best pop duo/group performance); no wins.
Ed Sheeran’s “Shape of You”: 12 weeks in 2017. 1 nod (best pop solo performance), 1 win (best pop solo performance).
The 2000s
Mariah Carey’s “We Belong Together”: 14 weeks in 2005. 4 nods (record of the year, song of the year, best female R&B vocal performance, best R&B song); 2 wins (best female R&B vocal performance, best R&B song).
The Black Eyed Peas’ “I Gotta Feeling”: 14 weeks in 2009. 2 nods (record of the year, best pop performance by a duo or group with vocals); 1 win (best pop performance by a duo or group with vocals).
Eminem’s “Lose Yourself”: 12 weeks in 2002-03. 5 nods (record of the year, song of the year, best male rap solo performance, best rap song, best song written for a motion picture, television or other visual media); 2 wins (best male rap solo performance, best rap song).
Usher’s “Yeah!” (featuring Lil Jon & Ludacris): 12 weeks in 2004. 2 nods (record of the year, best rap/sung collaboration); 1 win (best rap/sung collaboration).
The Black Eyed Peas’ “Boom Boom Pow”: 12 weeks in 2009. 2 nods (best dance recording, best short form music video); 1 win (best short form music video).
The 1990s
Mariah Carey & Boyz II Men’s “One Sweet Day”: 16 weeks in 1995-96. 2 nods (record of the year, best pop collaboration with vocals), no wins.
Whitney Houston’s “I Will Always Love You”: 14 weeks in 1992-93. 2 nods (record of the year, best pop vocal performance, female); 2 wins (record of the year, best pop vocal performance, female).
Boyz II Men’s “I’ll Make Love to You”: 14 weeks in 1994. 3 nods (record of the year, best R&B performance by a duo or group with vocal, best rhythm and blues song); 2 wins (best R&B performance by a duo or group with vocal, best rhythm and blues song).
Los Del Rio’s “Macarena (Bayside Boys Mix)”: 14 weeks in 1996. No nods.
Elton John’s “Candle in the Wind 1997”/“Something About the Way You Look Tonight”: 14 weeks in 1997-98. 1 nod (best male pop vocal performance); 1 win (best male pop vocal performance).
The 1980s
Olivia Newton-John’s “Physical”: 10 weeks in 1981-82. 1 nod (best pop video performance, female); no wins.
Kim Carnes’ “Bette Davis Eyes”: 9 weeks in 1981. 3 nods (record of the year, song of the year, best pop vocal performance, female); 2 wins (record of the year, song of the year).
Diana Ross & Lionel Richie’s “Endless Love”: 9 weeks in 1981. 3 nods (record of the year, song of the year, best pop performance by a duo or group with vocal); no wins.
The Police’s “Every Breath You Take”: 8 weeks in 1983. 3 nods (record of the year, song of the year, best pop performance by a duo or group with vocal); 2 wins (song of the year, best pop performance by a duo or group with vocal).
Joan Jett & the Blackhearts’ “I Love Rock n’ Roll”: 7 weeks in 1982. No nods.
Paul McCartney & Stevie Wonder’s “Ebony and Ivory”: 7 weeks in 1982. 3 nods (record of the year, song of the year, best pop performance by a duo or group with vocal); no wins.
Michael Jackson’s “Billie Jean”: 7 weeks in 1983. 3 nods (song of the year, best R&B vocal performance, male, best rhythm & blues song); 2 wins (best R&B vocal performance, male, best rhythm & blues song). Note: Another of Jackson’s 1983 hits, “Beat It,” won for record of the year.
The 1970s
Debby Boone’s “You Light Up My Life”: 10 weeks in 1977. 3 nods (record of the year, song of the year, best pop vocal performance, female); 1 win (song of the year).
Rod Stewart’s “Tonight’s the Night (Gonna Be Alright)”: 8 weeks in 1976-77. No nods.
Bee Gees’ “Night Fever”: 8 weeks in 1978.No nods. (“Stayin’ Alive,” which had half as many weeks at No. 1, brought the group Grammy glory that year, with nods for record and song of the year.)
Andy Gibb’s “Shadow Dancing”: 7 weeks in 1978. No nods.
Simon & Garfunkel’s “Bridge Over Troubled Water”: 6 weeks in 1970. 4 nods (record of the year, song of the year, best contemporary song, best arrangement accompanying vocalist(s)); 4 wins (record of the year, song of the year, best contemporary song, best arrangement accompanying vocalist(s)).
Three Dog Night’s “Joy to the World”: 6 weeks at No. 1 in 1971. 2 nods (record of the year, best pop vocal performance by a duo, group or chorus); no wins.
Roberta Flack’s “The First Time Ever I Saw Your Face”: 6 weeks in 1972. 2 nods (record of the year, song of the year); 2 wins (record of the year, song of the year).
Gilbert O’Sullivan’s “Alone Again (Naturally)”: 6 weeks in 1972. 3 nods (record of the year, song of the year, best pop vocal performance, male); no wins.
Chic’s “Le Freak”: 6 weeks in 1978-79. No nods.
The Knack’s “My Sharona”: 6 weeks at No. 1 in 1979. 1 nod (best rock vocal performance by a duo or group); no wins.
The 1960s
Percy Faith & His Orchestra’s “The Theme from A Summer Place”: 9 weeks in 1960. 4 nods (record of the year, song of the year, best arrangement, best performance by an orchestra); 1 win (record of the year).
The Beatles’ “Hey Jude”: 9 weeks in 1968. 3 nods (record of the year, song of the year, best contemporary-pop performance by a vocal duo or group); no wins.
Bobby Lewis’ “Tossin’ and Turnin’”: 7 weeks in 1961. No nods.
The Beatles’ “I Want To Hold Your Hand”: 7 weeks in 1964. 1 nod (record of the year); no wins.
The Monkees’ “I’m a Believer”: 7 weeks in 1966-67. 2 nods (best performance by a vocal group, best contemporary group performance (vocal or instrumental); no wins.
Marvin Gaye’s “I Heard It Through the Grapevine”: 7 weeks in 1968-69. 1 nod (best rhythm & blues vocal performance, male); no wins.
The 1950s (1958-59)
Bobby Darin’s “Mack the Knife”: 9 weeks in 1959. 2 nods (record of the year, best vocal performance, male); 1 win (record of the year).
Sheb Wooley’s “The Purple People Eater”: 6 weeks on the Best Sellers and Top 100 charts in 1958 (prior to the inception of the Hot 100). No nods.
Tommy Edwards’ “It’s All in the Game”: 6 weeks in 1958. No nods.
Johnny Horton’s “The Battle of New Orleans”: 6 weeks in 1959. 2 nods song of the year, best country & western performance); 2 wins (song of the year, best country & western performance).
Note: Danny & the Juniors‘ “At the Hop,” the longest-running No. 1 hit of 1958 (7 weeks at No. 1 on the Top 100 chart), was released in 1957 and thus was ineligible for the inaugural Grammy Awards in 1958.
Morgan Wallen’s crossover smash “Last Night” spends a 25th week atop Billboard’s streaming-, airplay- and sales-based Hot Country Songs chart (dated Aug. 19).
The song passes Walker Hayes’ “Fancy Like” (2021-22) and Florida Georgia Line’s “Cruise” (2012-13) as the sole fourth-longest-ruling leader since the survey became the genre’s main chart in October 1958.
“Last Night,” authored by John Byron, Ashley Gorley, Charlie Handsome and Jacob Kasher Hindlin, drew 59.6 million radio airplay audience impressions (down 11%) and 26.3 million streams (down 2%) and sold 5,000 downloads (down 22%) in the Aug. 4-10 tracking week, according to Luminate.
Here’s a look at the 10 longest-leading Hot Country Songs No. 1s since October 1958. Wallen is the only soloist with two titles on the list, while duo Florida Georgia Line is the only other act with two. (All songs but one below have reigned since the chart adopted the all-genre Billboard Hot 100’s multi-metric methodology in October 2012.)
Longest-Leading Hot Country Songs No. 1s (since 1958):
50 weeks, “Meant To Be,” Bebe Rexha & Florida Georgia Line, beginning in December 2017
34, “Body Like a Back Road,” Sam Hunt, February 2017
27, “I Hope,” Gabby Barrett, July 2020
25, “Last Night,” Morgan Wallen, February 2023
24, “Fancy Like,” Walker Hayes, July 2021
24, “Cruise,” Florida Georgia Line, December 2012
21, “10,000 Hours,” Dan + Shay & Justin Bieber, October 2019
19, “You Proof,” Morgan Wallen, May 2022
19, “The Bones,” Maren Morris, March 2020
19, “Walk on By,” Leroy Van Dyke, September 1961
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Concurrently, “Last Night” leads the Hot 100 for a 16th week. It surpasses Harry Styles’ “As It Was,” from 2022, for the longest command ever for a song by an act with no accompanying artists.
Wallen’s ninth Country Airplay leader dominated that chart for eight weeks and crossed over to No. 5 peaks on both Pop Airplay and Adult Pop Airplay.
Wilson Shines
Lainey Wilson adds her fifth Hot Country Songs top 10, as “Watermelon Moonshine,” which she co-penned, pushes 11-10. The song advanced by 31% to 7.6 million official U.S. streams and sold 3,000 downloads Aug 4-10.
On Country Airplay, the track pushes 19-17 for a new best (12.6 million in audience, up 7%).
Wilson has a second track on Hot Country Songs, her collaboration with BBR Label Group labelmate Jelly Roll “Save Me,” which pushes 22-20 after reaching No. 18 last month. It drew 5.9 million streams (up 12%) and sold 3,000. On Country Airplay, it ranks at No. 49 (1.4 million, up 16%).
Taylor Swift spends a record-extending 76th week at No. 1 on the Billboard Artist 100 chart (dated Aug. 19), thanks to the continued success of her latest album, Speak Now (Taylor’s Version), as well as 10 additional albums on the Billboard 200 and five songs on the Billboard Hot 100.
The set ranks to No. 4 in its fifth week on the Billboard 200 with 60,000 equivalent album units earned Aug. 4-10, according to Luminate, after spending its first two weeks at No. 1. It became Swift’s first re-recorded album, of three that she’s released so far, to notch its first two weeks at the summit.
Also boosting Swift’s Artist 100 standing are 10 additional albums on the Billboard 200. This is the fifth week (all consecutive) that Swift has landed 11 titles on the survey. Four weeks ago, she became just the third act – and first woman – to chart at least 11 in a single week, following The Beatles and Prince.
Here’s a recap of Swift’s current Billboard 200-charting titles.
Rank, Title:No. 4, Speak Now (Taylor’s Version)No. 5, MidnightsNo. 6, LoverNo. 9, FolkloreNo. 13, 1989No. 15, reputationNo. 18, Red (Taylor’s Version)No. 24, EvermoreNo. 30, Fearless (Taylor’s Version)No. 144, Taylor SwiftNo. 181, Speak Now
Swift also boasts four albums in the Billboard 200’s top 10 for a third time. Last month, she became the first living artist to achieve the feat in nearly 60 years.
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On the Hot 100, Swift charts five songs: “Cruel Summer” (up 4-3, a new high), “Karma” featuring Ice Spice (20-13), “Anti-Hero” (31-18), “Blank Space” (a re-entry at No. 49) and “I Can See You (Taylor’s Version) (From the Vault)” (76-63).
“Blank Space,” Swift’s seven-week Hot 100 No. 1 in 2014-15 from her album 1989, has been gaining in recent weeks, as she has been performing it on The Eras Tour, and ahead of the Aug. 9 announcement of her re-recorded 1989 (Taylor’s Version), due Oct. 27.
Rounding out the Artist 100’s top five, Travis Scott drops to No. 2, Morgan Wallen rises 4-3, Luke Combs lifts 5-4 and Post Malone falls 3-5.
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.
For the first time in two-and-a-half months, the U.K.’s singles chart is set to crown a new leader. And, right now, that crown looks like a good fit for Dua Lipa.
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The pop superstar leads the midweek chart with “Dance The Night” (via Warner Records), one of several hits from Barbie.
If it swings to the top, up 3-1, “Dance The Night” would be Lipa’s fourth U.K. leader, following “New Rules”; “One Kiss “with Calvin Harris; and “Cold Heart,” her collaboration with Elton John, remixed by PNAU.
Barbie has now passed the US$1 billion milestone at the global box office, and the hit film’s influence can been seen up and down the U.K.’s chart blast. Indeed, it’s an all-Barbie top two, as Billie Eilish’s ballad “What Was I Made For?” slots into second place, less than 1,000 chart units behind “Dance The Night,” the Official Charts Company reports. Other cuts from Barbie: The Album making a midweek mark include “Barbie World” by Nicki Minaj, Ice Spice and Aqua (at No. 7); “Speed Drive” by Charli XCX (No. 14); “I’m Just Ken” by Ryan Gosling (No. 16); and Lizzo’s “Pink” (No. 34).
Meanwhile, Olivia Rodrigo’s “Vampire” (Geffen) completes the midweek podium, at No. 3, while the Grammy-winning pop star is poised to nab the top new entry on the national survey with “Bad Idea Right,” the latest track lifted from her forthcoming sophomore album GUTS. It’s new at No. 5 on the Official Chart Update.
Also set to make a dent on the chart is Fred Again’s “I Adore U” (Atlantic). It’s set to bow at No. 11, for what would be a career-high from the smoking hot Mercury Prize-nominated DJ and producer.
It would appear that Dave and Central Cee’s “Sprinter” (Live Yours/Neighbourhood) has run its final race. The hit song led the national chart for 10 consecutive weeks, but is set to tumble not just from summit, but out of the top 10. Based on sales and streaming data published by the OCC, “Sprinter” will drop to No. 12.
All will be revealed when the Official U.K. Singles Chart is published Friday, Aug. 18.
Liam Gallagher is approaching higher ground, as Knebworth 22 (via Warner Records) leads the race for the U.K. chart title.
Cut during the British rocker’s two sold-out shows at Knebworth in June last year, where he played to crowds of 170,000, the live collection leads the midweek chart.
If it holds its momentum, Knebworth 22 would give Gallagher his fifth solo No. 1 album, and bragging rights over his brother Noel Gallagher, who boasts four No. 1 albums with his High Flying Birds, and missed out by a fraction on claiming a fifth when Foo Fighters won a tight chart race in June.
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Liam Gallagher is no stranger to life in the U.K. chart penthouse. As frontman with Oasis, he led the chart on eight occasions, a consecutive streak that includes all seven of the band’s studio albums, plus the 2010 compilation Time Flies.
Knebworth was, of course, the setting of Oasis’ legendary gigs, played across two nights in August 1996, a moment in time that was captured for the feature-length documentary Knebworth 1996, directed by Jake Scott, and for its companion album which peaked at No. 4 on the U.K. chart in 2021.
As a solo artist, Liam Gallagher has led the national tally with As You Were (2017), Why Me? Why Not (2019), MTV Unplugged (2020) and C’mon You Know (2022).
Dropping in at No. 2 on the Official Chart Update is the Hives’ The Death Of Randy Fitzsimmons (Disques Hives), the Swedish rockers’ sixth album and first in more than a decade. Fitzsimmons is on track to become the group’s career peak and third top 10 title, including their 2002 breakthrough Your New Favourite Band, released on Alan McGee’s Poptones, and 2004 followup Tyrannosaurus Hives (Polydor), both peaking at No. 7.
Completing an all-new top three on the latest chart blast is Volcano (Caiola), from electronic act Jungle. Volcano should blast to the duo’s fourth top 10 appearance.
Finally, John Lydon’s’s post-punk outfit Public Image Ltd could snag a first-ever U.K. top 10 with End of the World (PIL Official), set to start at No. 7, while new releases from London rapper Fredo (Unfinished Business via PG Records at No. 11) and English singer-songwriter Lucy Spraggan (Balance via CTRL at No. 12) are just outside the top tier.
All will be revealed when the Official U.K. Albums Chart is published Friday, Aug. 18.
Taylor Swift’s former seven-week No. 1 hit “Blank Space,” from her 2014 LP 1989, re-enters the Billboard Hot 100 chart (dated Aug. 19), marking its first appearance on the survey since its initial 36-week chart run in 2014-15.
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“Blank Space” re-enters with 8.4 million U.S. streams (up 23%), 4.3 million radio airplay audience impressions (essentially even week-over-week) and 1,000 downloads sold (up 51%), in the Aug. 4-10 tracking week, according to Luminate.
The song has been gaining in recent weeks, as Swift has been performing it on The Eras Tour, and ahead of the announcement of her re-recorded 1989 (Taylor’s Version) on Aug. 9. The song also jumps to No. 40 on the Billboard Global 200 chart, up 10% to 25.4 million streams worldwide (reflecting consumption in the U.S. and around 200 other countries).
1989 (Taylor’s Version), Swift’s fourth re-recorded set from her catalog, is due Oct. 27. Her original 1989 album spent 11 weeks at No. 1 on the Billboard 200 in 2014-15, matching Fearless as her longest-leading No. 1 album.
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“Blank Space” was a monumental hit for Swift, marking her third and longest-leading No. 1 at the time. With seven weeks at the summit, it stood as Swift’s longest-leading hit until “Anti-Hero” tallied eight weeks on top last November through this January. “Blank Space” also earned Grammy Award nominations for record of the year, song of the year and best pop solo performance.
Swift has since upped her total to nine Hot 100 No. 1s. Here’s a recap.
Taylor Swift’s Billboard Hot 100 No. 1s:“Anti-Hero” (eight weeks, 2022-23)“All Too Well (Taylor’s Version)” (one, 2021)“Willow” (one, 2020)“Cardigan” (one, 2020)“Look What You Made Me Do” (three, 2017)“Bad Blood,” feat. Kendrick Lamar (one, 2015)“Blank Space” (seven, 2014-15)“Shake It Off” (four, 2014)“We Are Never Ever Getting Back Together” (three, 2012)
Older songs such as “Blank Space” are eligible to re-enter the Hot 100 if they rank in the top 50 and have meaningful reasons for their resurgences. We occasionally see this phenomenon when catalog songs go viral or are newly promoted, as with Swift’s “Cruel Summer” (from 2019 and, now promoted as a single, up to No. 3 on the Hot 100), or have notable TV/film synchs that generate newfound interest, as was the case with Kate Bush’s 1985 classic “Running Up That Hill (A Deal With God)” last year. This explains why we see holiday songs storming the Hot 100 each winter, Michael Jackson’s “Thriller” returning after Halloween and, most recently, Miley Cyrus’ “Party in the U.S.A.” back on the Hot 100 last month following Fourth of July-related gains.
Jung Kook’s “Seven,” featuring Latto, logs a fourth week at No. 1 on both the Billboard Global 200 and Billboard Global Excl. U.S. charts (dated Aug. 19). Three weeks earlier, the song became the first leader on the lists for a member of BTS as a soloist.
Marking another unprecedented feat, “Seven” is the first song since Global Excl. U.S. began in September 2020 to open with four consecutive weeks of 100 million-plus streams outside the U.S.
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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‘Seven’ Scores 4th Week Atop Global 200
Jung Kook’s “Seven,” featuring Latto, posts a fourth week at No. 1 on the Billboard Global 200, with 111.7 million streams (down 10%) and 4,000 sold (down 68%) worldwide Aug. 4-10.
The song is just the second of 2023 to debut atop the Global 200 and spend at least its first four weeks at No. 1, after Miley Cyrus’ “Flowers” tallied its first six weeks on the chart at the summit beginning in January.
For a third week, three songs from the Barbie soundtrack, Barbie: The Album, chart in the Global 200’s top 10: Billie Eilish’s “What Was I Made For?” rises 4-2, Dua Lipa’s “Dance the Night” jumps 6-3, as both songs hit new highs, and Nicki Minaj and Ice Spice’s “Barbie World,” with Aqua, rebounds to its No. 6 best, from No. 7.
Elsewhere, Myke Towers’ “LaLa” lifts 5-4 on the Global 200, after reaching No. 3, and Taylor Swift’s “Cruel Summer” climbs 11-5, after hitting No. 3. The latter is the only song in the top 10 with gains in both worldwide streaming (49.1 million, up 7%) and sales (10,000, up 75%).
Jung Kook & Latto Make History Atop Global Excl. U.S.
Jung Kook’s “Seven,” featuring Latto, concurrently crowns the Billboard Global Excl. U.S. chart for a fourth week, with 101.9 million streams (down 10%) and 3,000 sold (down 50%) outside the U.S. Aug. 4-10.
As on the Global 200, the song is only the second this year to begin atop Global Excl. U.S. and spend at least its first four weeks at No. 1, following Miley Cyrus’ “Flowers” (six weeks, starting in January).
Meanwhile, “Seven” is the first song since Global Excl. U.S. began to premiere with four consecutive weeks of 100 million-plus streams outside the U.S., as its latest sum follows frames of 112.8 million (Aug. 12), 138.1 million (Aug. 5) and 196 million (July 29).
Myke Towers’ “LaLa” keeps at No. 2 on Global Excl. U.S., after it led the list for a week in July.
Also as on the Global 200, three songs from the Barbie soundtrack rank in the Global Excl. U.S. top 10: Dua Lipa’s “Dance the Night” pushes 5-3, becoming the highest-charting hit from the collection, Billie Eilish’s “What Was I Made For?” holds at its No. 4 high and Nicki Minaj and Ice Spice’s “Barbie World,” with Aqua, slips to No. 9 from its No. 6 best.
Plus, NewJeans’ “Super Shy” drops 3-5 on Global Excl. U.S., after reaching No. 2.
The Billboard Global 200 and Billboard Global Excl. U.S. charts (dated Aug. 19, 2023) will update on Billboard.com tomorrow (Aug. 15). 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.
Morgan Wallen’s “Last Night” adds a 16th week at No. 1 on the Billboard Hot 100 songs chart. The song breaks out of a tie with Harry Styles’ “As It Was” for the sole longest No. 1 run for a non-collaboration, while overall tying for the second-longest reign in the Hot 100’s 65-year history.
Plus, SZA’s “Snooze” jumps from No. 15 to No. 10 on the Hot 100, becoming her eighth career top 10, and the fifth on her album SOS.
The Hot 100 blends all-genre U.S. streaming (official audio and official video), radio airplay and sales data, the lattermost metric reflecting purchases of physical singles and digital tracks from full-service digital music retailers; digital singles sales from direct-to-consumer (D2C) sites are excluded from chart calculations. All charts (dated Aug. 19, 2023) will update on Billboard.com tomorrow (Aug. 15). For all chart news, you can follow @billboard and @billboardcharts on both X, formerly known as Twitter, and Instagram.
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Wallen’s “Last Night,” released on Big Loud/Mercury/Republic Records, drew 59.6 million radio airplay audience impressions (down 11%) and 26.3 million streams (down 2%) and sold 5,000 downloads (down 22%) in the Aug. 4-10 tracking week, according to Luminate.
As “Last Night” leads the Hot 100 for a 16th week, it surpasses Harry Styles’ “As It Was,” from 2022, for the longest command ever for a song by an act with no accompanying artists.
Among all songs, “Last Night” matches the second-longest rule in the Hot 100’s history, which dates to the chart’s Aug. 4, 1958, inception.
Longest-Leading Billboard Hot 100 No. 1s:
19, “Old Town Road,” Lil Nas X feat. Billy Ray Cyrus, beginning April 13, 2019
16 (to date), “Last Night,” Morgan Wallen, March 18, 2023
16, “Despacito,” Luis Fonsi & Daddy Yankee feat. Justin Bieber, May 27, 2017
16, “One Sweet Day,” Mariah Carey & Boyz II Men, Dec. 2, 1995
15, “As It Was,” Harry Styles, April 16, 2022
14, “Uptown Funk!,” Mark Ronson feat. Bruno Mars, Jan. 17, 2015
14, “I Gotta Feeling,” The Black Eyed Peas, July 11, 2009
14, “We Belong Together,” Mariah Carey, June 4, 2005
14, “Candle in the Wind 1997”/“Something About the Way You Look Tonight,” Elton John, Oct. 11, 1997
14, “Macarena (Bayside Boys Mix),” Los Del Rio, Aug. 3, 1996
14, “I’ll Make Love to You,” Boyz II Men, Aug. 27, 1994
14, “I Will Always Love You,” Whitney Houston, Nov. 28, 1992
“Last Night” also passes “As It Was” for the longest No. 1 Hot 100 stay of the 2020s so far. Here’s an updated look at the longest-leading hits each decade (with songs, on average, having logged longer No. 1 runs since Luminate data began contributing to the chart in late 1991).
Longest-Leading Billboard Hot 100 No. 1s by Decade:
2020s: 16 weeks (to date), “Last Night,” 2023
2010s: 19 weeks, “Old Town Road,” Lil Nas X feat. Billy Ray Cyrus, 2019
2000s: 14 weeks, “I Gotta Feeling,” The Black Eyed Peas, 2009 / “We Belong Together,” Mariah Carey, 2005
1990s: 16 weeks, “One Sweet Day,” Mariah Carey & Boyz II Men, 1995-96
1980s: 10 weeks, “Physical,” Olivia Newton-John, 1981-82
1970s: 10 weeks, “You Light Up My Life,” Debby Boone, 1977
1960s: 9 weeks, “Hey Jude,” The Beatles, 1968 / “The Theme From A Summer Place,” Percy Faith and His Orchestra, 1960
1950s: 9 weeks, “Mack the Knife,” Bobby Darin, 1959
“Last Night” first led the Hot 100 in March, becoming Wallen’s initial No. 1 on the chart, and has logged a record-tying five distinct stays on top: March 18; April 15-22; May 6-July 8; July 22; and Aug. 12-19.
The song rebounds to No. 1, from No. 3, for an 18th week atop the Streaming Songs chart; rises 7-4 following a week atop Digital Song Sales; and dips 4-6, after reaching No. 2, on Radio Songs.
The single also tops Billboard’s Hot Country Songs chart, which employs the same multi-metric methodology as the Hot 100, for a 25th week, the sole fourth-longest domination since the chart became an all-encompassing genre ranking in 1958; Bebe Rexha and Florida Georgia Line’s “Meant to Be” spent a record 50 weeks at No. 1 in 2017-18.
“Last Night,” which crowned the Country Airplay chart for eight weeks and crossed over to No. 5 peaks on both Pop Airplay and Adult Pop Airplay, additionally claims an 11th week atop Billboard’s Songs of the Summer chart, having led each week since the list returned. (Meanwhile over the weekend, Wallen made news for his hairstyle change. Mull it over here.)
Luke Combs’ cover of Tracy Chapman’s “Fast Car” notches a fifth week at its No. 2 Hot 100 high.
Notably, after topping Country Airplay for five weeks, “Fast Car” leads Adult Pop Airplay for a second frame and becomes Combs’ first top 10 on Pop Airplay (12-10). It’s the first song by a lead solo male to have hit No. 1 on both Country Airplay and Adult Pop Airplay and reached the Pop Airplay top 10; among all acts, four songs previously achieved the feat, as it follows Gabby Barrett’s “I Hope” (featuring Charlie Puth on its pop remix; 2020); “Meant To Be” (2018); Lady A’s “Need You Now” (2009-10); and Faith Hill’s “Breathe” (1999-2000).
Taylor Swift’s “Cruel Summer” pushes to a new No. 3 Hot 100 high, from No. 4, four years after its release on her 2019 album Lover, as it’s now being promoted as a single, while she has been performing the song on her The Eras Tour. It likewise climbs to new No. 3 bests on both Radio Songs (68.1 million, up 6%) and Digital Song Sales (7,000, up 85%), while rebounding 19-5, also a new highpoint, on Streaming Songs (18.2 million, up 14%), as it wins the Hot 100’s Sales and Streaming Gainer awards.
Rema and Selena Gomez’s “Calm Down” ascends 6-4 on the Hot 100, after reaching No. 3, as it posts an eighth week atop Radio Songs (88 million, down 1%). It tops the Billboard U.S. Afrobeats Songs chart for a milestone 50th week, extending the longest reign since the ranking began over a year ago.
Gunna’s “Fukumean” lifts 7-5 on the Hot 100, after hitting No. 4, while ruling the multi-metric Hot R&B/Hip-Hop Songs and Hot Rap Songs charts for a fourth week each.
Olivia Rodrigo’s “Vampire” rises 9-6 on the Hot 100, five weeks after it debuted as her third No. 1; Dua Lipa’s “Dance the Night” twirls 10-7 for a new high; Nicki Minaj and Ice Spice’s “Barbie World,” with Aqua, holds at No. 8, after reaching No. 7, as it takes top Airplay Gainer honors (26.1 million, up 54%); and Miley Cyrus’ “Flowers” returns to the top 10 (12-9), after it led for eight weeks beginning in January.
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Rounding out the Hot 100’s top 10, SZA’s “Snooze” surges 15-10, with 61.9 million in radio reach and 1,000 sold (each sum essentially even week-over-week) and 10.4 million streams (down 1%).
The song is SZA’s eighth career Hot 100 top 10 and the fifth on her album SOS, after “Kill Bill,” which led for a week in April, marking her first No. 1; “Nobody Gets Me” (No. 10, December 2022, concurrent with the set’s launch atop the Billboard 200 albums chart); “I Hate U” (No. 7, December 2021); and “Good Days” (No. 9, February 2021).
SZA has also hit the Hot 100’s top 10 as featured on Doja Cat’s “Kiss Me More” (No. 3, July 2021); with Kendrick Lamar on “All the Stars” (No. 7, March 2018); and as featured on Maroon 5’s “What Lovers Do” (No. 9, November 2017).
Meanwhile, Babyface is one of the co-writers and co-producers of “Snooze.” The legendary talent, who has notched five Hot 100 top 10s as a recording artist and first reached the region in the 1980s, places in the top 10 as a writer for the first time since Drake’s “Fair Trade,” featuring Travis Scott, hit No. 3 in September 2021. “Fair Trade” samples Charlotte Day Wilson’s 2019 single “Mountains,” which Babyface co-wrote.
Apart from samples, Babyface appears in the Hot 100’s top 10 with a newly composed song for the first time since P!nk’s “Most Girls,” which he produced and co-wrote, hit No. 4 in November 2000. (That also marked his last top 10 rank as a producer until “Snooze.”)
Again, for all chart news, you can follow @billboard and @billboardcharts on both Twitter and Instagram and all charts (dated Aug. 19), including the Hot 100 in its entirety, will refresh on Billboard.com tomorrow (Aug. 15).
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.
Dave and Central Cee’s “Sprinter” (via Live Yours/Neighbourhood) outraces the field in the U.K. for the 10th week, setting a new record in the process.
“Sprinter” becomes the first U.K. rap track to enter double figures at the summit of the Official U.K. Singles Chart, further proof of the global phenomenon that is hip-hop, a genre that’s currently celebrating its 50th anniversary as a genre.
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Meanwhile, Becky Hill and Chase & Status lift into the top 10 for the first time with “Disconnect” (Polydor), up 15-9. With that gain, Hill boasts her sixth U.K. top 10 hit, while Chase & Status land a fifth — and first in ten years. Chase & Status appear again further down the Official U.K. Singles Chart, published Aug. 11, with Flowdan and Bou on “Baddadan” (EMI), up 31-21 for a new peak position.
It’s strength in numbers for Nathan Dawe, Joel Corry and Ella Henderson as “0800 Heaven” (Atlantic) improves 9-10, while Calvin Harris and Sam Smith’s latest collaboration, “Desire” (Columbia), gains 18-12, for a new chart best.
There’s a new peak position for Ryan Gosling’s Barbie number “I’m Just Ken” (Atlantic), up 14-13; D.O.D’s “So Much In Love” (Armada), up 23-16; and Anne-Marie and Shania Twain‘s duet, “Unhealthy” (Atlantic/Asylum/EMI) up 22-18, also a new high
Doja Cat has the highest new entry on the Official U.K. Chart with “Paint the Town Red” (Ministry of Sound). It’s new at No. 20 for the U.S. artist’s 15th top 40 single and first top 20 appearance in two years, since 2021’s “Woman” reached No. 13.
Finally, Travis Scott scores his 17th U.K. top 40 with “Telekinesis” (Epic) featuring SZA and Future. The track, lifted from the U.S. rapper’s No. 1 album Utopia, starts at No. 31 on the Official Chart.
It’s victory for Cian Ducrot, the Irish singer and songwriter who races to No. 1 in the U.K. with his debut LP.
Ducrot overcomes a deficit at the midweek stage to snag the chart crown with Victory (via Polydor), ahead of Skindred’s eighth studio album, Smile (Earache).
Few chart races will come any tighter than this. Ducrot’s winning margin over Skindred, the Welsh heavy metal outfit, is just 150 chart units, the Official Charts Company reports.
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Despite missing out on a debut crown, there’s no frowning for Skindred as Smile gives the Newport band its highest chart peak in the U.K., and first top 10 appearance.
Previously, Skindred impacted the U.K. top 40 with 2014’s Kill the Power (No. 28 peak), 2015’s Volume (No. 29) and 2018’s Big Tings (No. 26).
Also, Smile is the week’s most downloaded LP and the best seller on wax.
Completing the top 3 on the Official U.K. Albums Chart, published Aug. 11, is Travis Scott’s previous leader Utopia (RCA), which dips 1-3.
South Yorkshire, England indie rock act the Sherlocks enjoy a career-best chart performance with People Like Me & You (Teddyboy), new at No. 4. The Sherlocks previously landed top 10 berths with 2017’s Live for the Moment (No. 6) and 2022’s World I Understand (No. 9).
Close behind is Miles Kane‘s One Man Band (Modern Sky), new at No. 5, the British artist’s highest-charting solo album. Kane has two No. 1 albums as part of the Last Shadow Puppets, his collaborative project with Arctic Monkeys’ Alex Turner, and boasts seven top 40 albums, five as a solo artist.
Finally, N-Dubz lands a fourth top 10 in the U.K. and equal career best with Timeless (EMI), the homegrown hip-hop act’s comeback album. It’s new at No. 6, matching their previous chart peak with 2009’s Against All Odds. Timeless is N-Dubz’s first studio album release in 13 years.