Chart Beat
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The first two times Billboard celebrated the Alternative Airplay chart’s anniversary, Foo Fighters reigned as the top act, while Muse’s “Uprising” claimed top song honors, both in 2013 (for the survey’s 25th year) and 2018 (30th).
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Some things don’t change. As Billboard reveals the updated Greatest of All Time 35th-anniversary recap of Alternative Airplay – which began in the issue dated Sept. 10, 1988 – it’s Foo Fighters who again rank above the rest as the tally’s top act.
But 35 years on, a new title has taken the throne as top song: All Time Low’s “Monsters” featuring blackbear.
Upon the list’s latest milestone, Billboard recognizes the Alternative Airplay chart’s top 100 songs and top 100 artists, from its September 1988 inception through September 2023. (See chart methodology below.)
Foos Fight to Top Artist Chart Again
Foo Fighters remain in a league of their own as Alternative Airplay’s No. 1 act over the chart’s first 35 years.
Mind you, the band’s old rival, Red Hot Chili Peppers, didn’t make it easy. The Chili Peppers remain at No. 2 behind the Foos, an order that’s persisted since the 25th-anniversary ranking.
Despite no movement at the top, neither band rested on its laurels between years 30 and 35. The Dave Grohl-fronted Foo Fighters released Medicine at Midnight in 2021, an album that spurred four Alternative Airplay top 10s. Earlier this year, the rockers followed with But Here We Are, their first following the death of longtime drummer Taylor Hawkins in 2022. Already the Foos have notched their first No. 1, “Rescued,” since 2014.
Anthony Kiedis and Red Hot Chili Peppers, meanwhile, released two albums, Unlimited Love and Return of the Dream Canteen in 2022, LPs that christened the return of guitarist John Frusciante. The result was a pair of No. 1 songs in “Black Summer” and “Tippa My Tongue,” extending the band’s record for the most chart-toppers – 15 – in the ranking’s history.
It’s not just the top two that remain the same. The top five acts for the 35th anniversary refresh are in the positions that they held in 2018. To recap: Green Day at No. 3 (three chart appearances since the 30th, including the No. 1 “Oh Yeah!” in 2020), Linkin Park at No. 4 (one No. 1 in the Meteora outtake “Lost,” released in 2023 as part of the album’s 20th-birthday reissue) and U2 at No. 5 (no chart appearances, but Bono and Co. still hold the record for the most Alternative Airplay appearances: 42).
The top 10, however, sees some movement. Weezer moves up to No. 6, from No. 9, from, in large part, a streak of four No. 1s since 2020 that’s still intact as of this writing, while Imagine Dragons shoot into the top 10 at No. 7, from No. 16, via a pair of leaders in 2021-22. R.E.M., Cage the Elephant and Pearl Jam round out the top 10, with Cage the Elephant also joining the top 10 for the first time, up from No. 15.
The recap’s top debuting act is one that, perhaps surprisingly, wasn’t among the top 100 in 2018: Panic! at the Disco, the Brendon Urie-led outfit that first appeared on Alternative Airplay in 2006. In 2018, the seeds for a Panic! renaissance had begun to be sown with the band’s first Alternative Airplay No. 1 in “Say Amen (Saturday Night).” After that anniversary, the act ruled the chart for 16 weeks with “High Hopes” and followed with the three-week leader “Viva Las Vengeance” in 2022.
Meanwhile, for the first time, two solo women appear among the chart’s top 100 artists. Alanis Morissette, who ranked at No. 62 on the 30th anniversary list, places at No. 67, joined by Billie Eilish, who debuts at No. 93. One of the format’s breakout stars since the last anniversary, Eilish has already racked up four No. 1s, surpassing Morissette for the most rulers by a solo woman – or any soloist – in the ranking’s history.
The 30th anniversary featured eight women or acts either fronted or co-fronted by women in the top 100. For the 35th, that number jumps to 11, with Eilish, Grouplove and Paramore joining in. The Cranberries lead all such acts at No. 62.
All Time Low’s ‘Monsters’ Roars to No. 1
Most weeks ever on the chart. Third-most weeks at No. 1.
Yeah, it makes sense that All Time Low’s “Monsters” featuring blackbear now reigns as the all-time biggest song in the Alternative Airplay chart’s history.
When “Monsters” debuted at No. 36 on the May 30, 2020-dated ranking amid the early months of the COVID-19 pandemic, it marked All Time Low’s first Alternative Airplay appearance despite nearly a decade-and-a-half of Billboard chart entries; even to that point with five top 10 albums on the Billboard 200, the rockers weren’t a household name on radio, their biggest airplay hit being the No. 13-peaking “Good Times” on Adult Pop Airplay in 2017.
But “Monsters” persisted, riding a wave of pop-punk throwbacks and revivalism to No. 1 on Alternative Airplay that September. It remained there for 18 nonconsecutive weeks, ultimately tying Foo Fighters’ “The Pretender” for the third-longest rule ever.
Here’s the thing, though: It wasn’t done. The song spent its final week at No. 1 on Jan. 23, 2021, and didn’t fall off the survey until a tick over a year later, through the chart dated Jan. 29, 2022. During that span, continued radio airplay kept the song anywhere between Nos. 2 and 9 – in fact, after dropping to No. 9 in June 2021, it rebounded as high as No. 3 that September.
In all, “Monsters” maintained on Alternative Airplay for 88 weeks, 12 more than its closest competitor (more on it in a moment). And even now, the song remains within the top 10 of recurrent airplay at the format.
That closest challenger? Another newcomer to the all-time list’s top 100. Lovelytheband’s “Broken” ranks at No. 2 following a stretch that includes nine weeks at No. 1 in 2018 and 76 total weeks on the chart. It spurred a career for the trio that has included four additional top 10s, including the No. 3-peaking “Sail Away” earlier this year, and a No. 78 debut on the all-time artists survey.
Muse’s “Uprising,” the previous recap’s No. 1, is pushed to No. 3 on the Alternative Airplay chart’s top songs retrospective, while the previous Nos. 2 and 3 tracks, Rise Against’s “Savior” and Portugal. The Man’s “Feel It Still,” drop to Nos. 4 and 5, respectively. The latter remains in possession of the chart’s longest No. 1 run – 20 weeks – while “Savior” is still the top-ranking song all-time that never reached No. 1 on a weekly ranking, peaking at No. 3 in 2009.
The other song to join the top 10 since the 30th anniversary is the aforementioned “High Hopes” by Panic! at the Disco, at No. 9 following 16 weeks at No. 1 and 49 total frames on the survey.
Billboard‘s Greatest of All Time 35th Anniversary Alternative Airplay Songs & Artists rankings are based on weekly performance on the radio airplay-based Alternative Airplay chart (from its Sept. 10, 1988, inception through Sept. 2, 2023). Songs are ranked based on an inverse point system, with weeks at No. 1 earning the greatest value and weeks at lower spots earning the least. Due to changes in chart methodology over the years, eras are weighted differently to account for chart turnover rates over various periods. Artists are ranked based on a formula blending performance, as outlined above, of all their Alternative Airplay chart entries.
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. 16), the last four singles to top the Billboard Hot 100 have all been led by country artists – and white guys – but both streaks may be coming to an end with the rise of a returning pop-rap star’s latest.
Doja Cat, “Paint the Town Red” (Kemosabe/RCA): It feels almost quaint in 2023: A big pop release that makes a solid debut, and climbs from there. Doja Cat’s “Paint the Town Red” entered at a good-not-great No. 15 on the Hot 100 in August, but it has only grown since then, jumping into the top five last week and hitting a new peak of No. 3 this week. With the song still gaining on all three Hot 100 component charts – Streaming Songs (up 3-2 this week), Digital Song Sales (11-6) and Radio Songs (24-17) — it should be a threat to take the top spot on next week’s chart.
If it does, it will be notable for reasons beyond becoming Doja Cat’s second career Hot 100-topper, following 2020’s “Say So” featuring Nicki Minaj. It would be the first non-country No. 1 on the chart since Jung Kook’s Latto-featuring “Seven” debuted atop the chart dated July 29, seven weeks earlier. In the time since, a record four consecutive country songs (defined as songs deemed eligible for Billboard’s Hot Country Songs ranking) have claimed the top spot: Morgan Wallen’s “Last Night,” Jason Aldean’s “Try That in a Small Town,” Oliver Anthony Music’s “Rich Men North of Richmond,” and this week’s new No. 1, Zach Bryan’s “I Remember Everything,” featuring Kacey Musgraves.
A much longer streak would also be ended if “Paint the Town Red” hits No. 1: It’s now been 55 weeks since a rap song last ruled the Hot 100 (“Super Freaky Girl,” by Doja Cat’s “Say So” co-star Nicki Minaj), the longest such run since the turn of the century. While Doja’s rap bona fides have long been the subject of (often ridiculous) internet debate as she crosses further into the top 40 world, “Paint” has scaled Billboard’s Hot Rap Songs chart – currently sitting at No. 1 there for a second week – meaning the genre’s Hot 100 drought may soon be over.
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Zach Bryan feat. Kacey Musgraves, “I Remember Everything” (Belting Bronco/Warner): The No. 1 debut that few saw coming last week should not be due for a particularly huge drop off in its second week. Zach Bryan‘s “I Remember Everything,” featuring Kacey Musgraves, has been holding fairly strong on both streaming (still No. 1 on Apple Music’s daily charts and No. 2 on Spotify) and sales (in the top five on iTunes) — and without any major debuts or gainers (aside from Doja) coming from behind it, it should still be in contention for one of the Hot 100’s top few spots this week.
The question for “Everything” will be how much radio embraces it. Bryan’s American Heartbreak Hot 100 top 10 hit “Something in the Orange” ultimately elbowed its way into the top 20 on Country Airplay, but Bryan’s stardom has mostly come independently of radio and the Nashville machine, and it’s not clear yet if “I Remember Everything” will prove an exception. So far, the song is nearing the Country Airplay chart, with 272,000 audience impressions at the format Sept. 1-4, according to Luminate, up from 175,000 in its entire first week.
Luke Combs, “Fast Car” (River House/Columbia Nashville/Columbia): It’s probably an overstatement to say that you have to feel for Luke Combs – when he first decided to cover Tracy Chapman’s alt-folk classic “Fast Car,” he probably never expected to get anywhere near the top spot of the Hot 100 with it. At this point, though, the song has now spent eight weeks idling at No. 2, while seemingly every other male country singer-songwriter speeds just ahead of him – and it’s starting to look like it might not ever get there himself.
“Fast Car” does finally lead the Radio Songs chart this week – Combs’ first No. 1 on that listing – while still hanging in the top 10 of Digital Song Sales and Streaming Songs. But “Car” seems to have stalled on all three component charts, so if Doja zooms by it this week, it might be tough for it to catch up again.
IN THE MIX
Taylor Swift, “Cruel Summer” (Republic): Labor Day Weekend came and went without any final promotional efforts for Taylor Swift’s “Cruel Summer,” which remains at No. 4 on the Hot 100 this week, after reaching No. 3, but is nearing its peak at radio and might not be able to hold in streaming and sales to remain a true No. 1 contender for much longer. All that remains now is the potential boost from the already blockbuster-certified Taylor Swift: The Eras Tour movie – but with that film not due still for over a month, it’s likely that “Summer” will have cooled off too much by then anyway.
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Nicki Minaj, “Last Time I Saw You” (Young Money/Republic): Speaking of Minaj: It’s likely that she will have the week’s best Hot 100 bow with her much-hyped new single “Last Time I Saw You.” The song got off to a typically strong start in sales and streaming upon its Friday (Sept. 1) debut, but has already faded pretty quickly on the daily Spotify and Apple charts. Given the song’s top 40-friendly crossover sound, though, it might not be too long before radio starts picking up the slack there.
These songs are two good. Over the Billboard Hot 100’s history, which dates to 1958, more than 500 songs have peaked in the No. 2 spot. Despite never having reigned as the biggest hit of any single week, their legacies endure.
From Thursday (Sept. 7) through Sept. 21, you can listen to revered runner-up Hot 100 hits on SiriusXM’s Billboard #2 Countdown Channel, an exclusive limited-run channel on the SiriusXM App (channel 14).
The Hot 100’s No. 2-peaking songs range from the first – Perez Prado and His Orchestra’s “Patricia,” which reached the rank on the inaugural survey (dated Aug. 4, 1958) – through hits from 2023 by Drake and 21 Savage (“Search & Rescue”), Lil Durk featuring J. Cole (“All My Life”) and Taylor Swift featuring Ice Spice (“Karma”).
Among other songs that put the “best” in second-best are multiple No. 2 Hot 100 hits each by The Beatles, Justin Bieber, Creedence Clearwater Revival, Michael Jackson, Elton John, Dua Lipa, Madonna, Elvis Presley, Prince and Stevie Wonder.
The Billboard #2 Countdown Channel marks the latest partnership between SiriusXM and Billboard. Previously, the Billboard Top 500 R&B Countdown highlighted hits for Black Music Month, the Billboard Women of Pop 1000 Countdown honored Women’s History Month, the Cupid Countdown made Valentine’s Day even sweeter, the Billboard Top 112 Songs of Christmas Countdown dashed through the sounds of the season and the Billboard Top 500 Summer Hits recapped the biggest summer songs in the Hot 100’s history.
Additionally, SiriusXM’s Big 40 Countdown, on ’80s on 8, and the Back in the Day Replay, on ’90s on 9, are based on historical weekly Hot 100 charts, while the Prime 30, on Prime Country, time-travels back through Billboard‘s Hot Country Songs chart.
(The Billboard #2 Countdown Channel recap is based on actual performance on the weekly Hot 100 chart. Songs are ranked based on an inverse point system, with weeks at No. 2 earning the greatest value and weeks at No. 100 earning the least. To ensure equitable representation of the biggest hits from each era, certain time frames were weighted to account for the difference between turnover rates from those years.)
Los Angeles Azules add a new single to their collab portfolio with “El Amor De Mi Vida,” featuring Maria Becerra. The song flies 38-9 on Billboard’s Regional Mexican Airplay chart dated Sept. 9. It earns Becerra her first top 10 with her first entry.
“El Amor De Mi Vida” was released Aug. 18 via SeiTrack/Disa/UMLE. With a 38-9 surge it becomes the biggest jump for a song since Adan Chalino Sanchez’ “Nadie Es Eterno” equally climbed 29 rankings, from No. 33 to No. 4, in 2004.
“El Amor De Mi Vida” traces its top 10 ascent to a robust 178% percent gain in audience impressions, to 4.1 million, earned in the U.S. in the week ending Aug. 31, according to Luminate.
As the song arrives in the upper region, Becerra secures her first top 10 since the chart’s inception in 1994. Los Angeles Azules, meanwhile, log their 14th top 10 hit, after “Tú y Tú,” with Cazzu and Santa Fe Klan, crowned Regional Mexican Airplay for one week in May.
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As Los Angeles Azules register a new top 10 song, here’s the history of their top 10 hits:
Peak, Title, Artist, Peak Date, Weeks At No. 1No. 5, “Como Te Voy A Olvidar,” Jan. 25, 1997No. 3, “Me Haces Falta Tú,” April 18, 1998No. 7, “Quiero Ser,” Nov. 21, 1998No. 1, “El Listón De Tu Pelo,” Feb. 5, 2000, sevenNo. 8, “Sin Ti No Se Vivir,” Sep. 16, 2000No. 5, “Ni Contigo Ni Sin Ti,” featuring Pepe Aguilar, August 4, 2018No. 1, “Nunca Es Suficiente,” featuring Natalia Lafourcade, Jan. 26, 2019, threeNo. 2, “Amor A Primera Vista,” with Belinda & Lalo Ebratt featuring Horacio Palencia, Aug. 31, 2019No. 6, “Acaríñame,” with Julieta Venegas & Juan Ingaramo, Dec. 28, 2019No. 7, “Y La Hice Llorar,” featuring Abel Pintos, June 13, 2020No. 4, “Otra Noche,” with Nicki Nicole, March 12, 2022No. 4, “Cumbia Del Corazón,” con Carlos Vives, Nov. 26, 2022No. 1, “Tú Y Tú,” con Cazzu & Santa Fe Klan, May 20, 2023, oneNo. 9, “El Amor De Mi Vida,” y Maria Becerra, Sept. 9, 2023
Elsewhere, “El Amor” debuts at No. 29 on the overall Latin Airplay chart. It’s the highest start for Los Angeles within their 17 career entries. Prior, the Mexicans scored a No. 29 debut with “Acaríñame,” with Julieta Venegas and Juan Ingaramo, in 2019.
Becerra adds a seventh entry on Latin Airplay. Plus, she extends her record for the most entries by a woman on Billboard Argentina Hot 100 with 43 career entries.
El Fantasma captures his fifth No. 1 on Billboard’s Regional Mexican Airplay chart as “La Vida Cara” crowns the list dated Sept. 9. The single checks into the penthouse after a 13% gain in audience impressions, to 6.8 million, earned in the U.S. during the Aug. 25-31 tracking week, according to Luminate.
‘La Vida Cara” ascends 4-1 in its ninth week and unseats Carin León’s “Indispensable” from its three-week domination; the song dips 1-2.
El Fantasma scores his fifth No. 1 after coming short on his last appearance. Previously, “El Selectivo” reached No. 2 in April, where it held for three weeks. Prior, “Soldado Caído” lifted 3-1 in Oct. 2022.
With his fifth champ, El Fantasma becomes the sixth male artist with as many No. 1s on Regional Mexican Airplay since the list launched in 1994. Christian Nodal beats the race with 15. Here’s the recap:
15, Christian Nodal12, Gerardo Ortiz8, Marco Antonio Solis7, Vicente Fernández6, Alejandro Fernández5, El Fantasma
Notably, as “Vida Cara” lands at No. 1, collaborators Salvador Hurtado and Indalfer Ochoa, who share writing credits, achieve their first champ on any Latin radio list. Hurtado previously landed in the runner-up slot when La Fiera De Ojinaga’s “900 Cigarros” peaked at No. 1 on the Aug. 26-dated list.
Beyond its Regional Mexican Airplay coronation, “Vida” gifts El Fantasma his ninth top 10 on the overall Latin Airplay chart as the song climbs 15-5.
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Maluma’s ‘Don Juan’ debuts in the top 10: Elsewhere on Latin charts, Maluma picks up his sixth top 10 on Latin Rhythm Albums as Don Juan opens at No. 5 with 8,000 equivalent album units earned in week ending Aug. 31.
The 24-track Don Juan was released Aug. 25 via Sony Music Latin. Of the 8,000-unit week, 7,000 derives from streaming activity, equal to 10.3 million official on-demand audio and video streams for the album’s songs in its first week.
With Don Juan, Maluma logs his sixth top 10 effort on Latin Rhythm Albums out of seven chart entries. Before the No. 12-peaking The Love & Sex Tapes set in June 2022, his previous five releases all reached top 10, and three out of those topped the list – 2015 Pretty Boy, Dirty Boy earned the Colombian his first chart appearance and maiden No. 1, while F.A.M.E. (2018) and 11:11 (2019), both debuted at the summit and ruled for one week, respectively.
Don Juan was preceded by four songs on the multi-metric Hot Latin Songs chart, starting with “Sobrio,” which peaked at No. 11 in Oct. 2021. Meanwhile, three others debuted in 2023: “La Fórmula,” with Marc Anthony, “Diablo, Que Chimba,” with Anuel AA, and “Coco Loco,” all debuted and peaked at No. 33, No. 45, and No. 41 in Feb., April, and June, respectively.
Further, Don Juan debuts at No. 11 on Top Latin Albums, Maluma’s best chart performance since Papi Juancho debuted and peaked at No. 2 in 2020.
YOASOBI’s “Idol” continues to steadily break its own record as it logs its 21st consecutive week at No. 1 on the Billboard Japan Hot 100, dated Sept. 6.
The music video accompanying “Idol” sailed past 300 million YouTube views on Saturday (Sept. 2), and the song has racked up 400 million total streams as of Wednesday (Sept. 6), breaking the record for fastest to hit the milestone.
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While falling slightly in downloads (3-2 with 8,202 units) and radio airplay (20-27), the Oshi no Ko opener still sits at No. 1 for streaming (11,816,572 weekly streams), video views, and karaoke.
SixTONES’ “CREAK,” the theme of the drama series Knockin’ on Locked Door starring member Hokuto Matsumura, debuts at No. 2 on the Japan Hot 100 this week. The latest single by the six-member group sold 471,285 CDs in its first week after dropping Aug. 30, ruling physical sales. The track is off to a good start, coming in at No. 2 for radio and No. 5 for video.
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At No. 3 is Nogizaka46’s “Ohitorisama Tengoku,” which soared to No. 2 last week after launching with over 700,000 CDs. The single sold 65,606 copies this week and hits No. 2 for sales, boosted by a campaign that offered a chance to win autographed copies. The girl group’s latest single moves 20-29 for downloads (1,732 units), 35-54 for video, 26-10 for radio, and 74-78 for streaming on this week’s tally, keeping the song in the top 3 on its second week after release.
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King Gnu’s “SPECIALZ” bows at No. 4 on the Japan Hot 100. The opener for the Shibuya Incident story arc of the TV anime series Jujutsu Kaisen dropped digitally on Sept. 1 following the anime’s premiere the day before. The latest track by the popular four-man band rules downloads with 28,311 units while coming in at No. 6 for streaming (5,980,562 streams) and No. 75 for radio. The CD version dropped Wednesday (Sept. 6), so the track is expected to perform well again on next week’s song chart.
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Another Jujutsu Kaisen-related track, Tatsuya Kitani’s “Where Our Blue Is,” rises 7-5 on the Japan Hot 100 this week. The track is currently at No. 2 for streaming (8,277,423 streams), No. 7 for downloads (5,457 units), No. 6 for video, No. 57 for sales, and No. 59 for radio. The song has remained in the top 10 of the Japan Hot 100 for the ninth straight week, peaking at No. 2 for two of them.
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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 Aug. 28 to Sept. 3, here. For more on Japanese music and charts, visit Billboard Japan’s English Twitter account.
New music from NCT U, Nicki Minaj and ONE OK ROCK complete the top five of Billboard’s Sept. 16-dated Hot Trending Songs chart, powered by X. 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 […]
Sierra Ferrell and The War And Treaty are both officially Billboard Hot 100-charting artists, thanks to their featured appearances on Zach Bryan’s new smash LP Zach Bryan.
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The set debuts at No. 1 on the Billboard 200 with 200,000 equivalent album units earned in its opening week (Aug. 25-31) in the U.S., according to Luminate. It’s the third No. 1 country album of 2023, so far, after Morgan Wallen’s One Thing at a Time and Taylor Swift’s Speak Now (Taylor’s Version), and the first rock No. 1 of the year. (The set is categorized as both a country and rock album.)
Bryan’s “Holy Roller,” featuring Ferrell, debuts at No. 37 on the Hot 100 purely on the strength of its first-week streaming sum: 12.1 million U.S. streams earned. That total helps the song open at No. 20 on the Streaming Songs chart. Genre-wise, it also starts at No. 14 on Hot Rock & Alternative Songs and No. 17 on Hot Country Songs. (The Hot 100, Hot Rock & Alternative Songs and Hot Country Songs charts all blend streams, sales and airplay data for their respective rankings.)
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Ferrell, from Charleston, West Virginia, is a newcomer to Billboard’s charts. The country/folk/bluegrass singer-songwriter scored her first overall chart appearance in September 2021, when her third, and most-recent LP, Long Time Coming, reached No. 15 on the Americana/Folk Albums chart and No. 25 on Top Album Sales.
She’s returned to Billboard’s charts once since then with her featured appearance on Ray LaMontagne’s “I Was Born To Love You.” The song climbed to No. 38 on the Adult Alternative Airplay chart in June 2022.
Outside of the charts, she’s released two additional solo LPs: Pretty Magic Spell in 2014, and Washington By The Sea in 2016. She’s also collaborated with Diplo (“Rain on My Mind,” also with Paul Cauthen), Shakey Graves (“Ready Or Not”), and Old Crow Medicine Show (“Belle Meade Cockfight”).
Next year, she’s scheduled to open for Bryan on his stops in Las Vegas and Denver on his Quittin Time Tour.
Bryan’s “Hey Driver,” featuring The War And Treaty, debuts at No. 14 on the Hot 100, also largely on the strength of its first-week streaming sum: 18.3 million U.S. streams, plus 1,000 downloads sold. The streaming sum also generates a No. 5 debut on the Streaming Songs chart. It concurrently debuts at No. 2 on Hot Rock & Alternative Songs and No. 5 on Hot Country Songs.
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The War And Treaty are a husband-and-wife duo, based in Albion, Mich., comprising Tanya and Michael Trotter Jr.
The pair are relatively new to Billboard’s charts. The act first appeared on a chart in 2018 with its second studio album Healing Tide. The set climbed to No. 11 on the Heatseekers Albums chart and No. 26 on the Independent Albums chart. Two years later, in 2020, the couple notched its first song entry on Billboard’s charts with “Five More Minutes.” It peaked at No. 20 on Adult Alternative Airplay.
Since then, the act’s third and fourth albums both charted on the Top Current Album Sales ranking: Hearts Town reached No. 70 in October 2020 and Lover’s Game peaked at No. 56 in March.
Aside from the charts, the War And Treaty have also collaborated with Shovels & Rope (“Tomorrow”), Blues Traveler (“Need Your Love So Bad”), Nitty Gritty Dirt Band (a star-studded cover of Bob Dylan’s “The Times They Are A-Changin,” also with Rosanne Cash, Steve Earle and Jason Isbell), and Dierks Bentley (a live cover of U2’s “Pride (In The Name of Love)”).
Outside of the War and Treaty, Tanya Trotter (née Blount) forged a successful career as a solo act in the ‘90s. She charted three solo songs on the Hot R&B/Hip-Hop Songs list (billed as Tanya Blount): “I’m Gonna Make You Mine” (No. 57 peak in 1994), “Through The Rain” (No. 27; 1994) and “Hold On” (No. 66; 1995).
“Through The Rain” also crossed over onto the Hot 100, reaching No. 90 in October 1994. The track appears on Trotter’s sole solo album, Natural Thing (released via Polydor Records), which climbed to No. 58 on the Top R&B/Hip-Hop Albums chart.
She first rose to prominence after she was cast in the 1993 Whoopi Goldberg film Sister Act 2: Back in the Habit—as the role of Tanya. She has a breakout moment in the film, when she sings “His Eye Is on the Sparrow” alongside future No. 1 Hot 100 artist Lauryn Hill. The duet appears on the soundtrack to the film, which reached No. 74 on the Billboard 200 in 1994.
Bebe Rexha scores a first on Billboard’s charts, becoming the only artist to have notched milestone 50-week No. 1s on both Hot Dance/Electronic Songs and Hot Country Songs.
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The versatile artist and David Guetta’s “I’m Good (Blue)” logs a 50th week atop Hot Dance/Electronic Songs (dated Sept. 9). (Dating to the chart’s launch in 2013, it’s just the second song to post at least 50 weeks at No. 1, after Marshmello and Bastille’s “Happier” dominated for 69 weeks in 2018-20.)
Rexha first spent a record 50 weeks at No. 1 on Hot Country Songs with “Meant to Be” with Florida Georgia Line in 2017-18. Rexha also co-wrote both that song and “I’m Good.”
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“Songwriting is my passion, no matter the style of music,” Rexha told Billboard earlier this year. “I’ve been blessed to have hit songs in different genres throughout my career. Finding this kind of success within both the dance/electronic and country charts is something I’m really proud of. To have my music resonate with so many people and top charts across multiple genres is amazing and means a lot to me, as I’ve never wanted to be put in a box.”
“I’m Good,” released on What a DJ/Warner Records, holds at No. 1 with 26.8 million radio airplay audience impressions, 5.3 million U.S. streams and 1,000 downloads sold in the Aug. 25-31 tracking week, according to Luminate. The collab has controlled Hot Dance/Electronic Songs every week since Oct. 1, 2022.
Among other longevity accolades for “I’m Good” on Hot Dance/Electronic Songs, it tallies a 53rd week in the top five (encompassing its entire chart run), tying Lady Gaga and Ariana Grande’s “Rain on Me” and Major Lazer and DJ Snake’s “Lean On” featuring MØ, for the sixth most. “Happier” rang up a record 91 weeks in the top five.
Guetta and Rexha have both now spent a combined 61 total weeks at No. 1 on the Hot Dance/Electronic Songs chart in their careers, thanks to “I’m Good” and their previous team-up, “Hey Mama,” also with Nicki Minaj and Afrojack (11 weeks at No. 1 in 2015). Only The Chainsmokers (82 weeks), Marshmello (81) and Bastille (69) have spent more time on top.
“I’m Good” became a crossover smash upon its release. It spent one week at No. 1 on the all-format Radio Songs chart and topped Dance/Mix Show Airplay for 14 weeks and Pop Airplay and Adult Pop Airplay for two each. On the Billboard Hot 100, the single even outperformed the song it interpolates: It reached No. 4 in January, while Eiffel 65’s “Blue (Da Ba Dee)” peaked at No. 6 in 2000.
Big Daddy Weave rolls up its seventh No. 1 on Billboard’s Christian AC Airplay chart, as “Heaven Changes Everything” ascends to the top of the tally dated Sept. 9.
The song increased by 4% in plays in the week ending Aug. 31, according to Luminate.
The track is an homage to Jay Weaver, the band’s former bassist from its inception in Mobile, Ala., in 1998. He passed away in January 2022 at age 42 from health complications due to COVID-19.
Big Daddy Weave frontman Mike Weaver (Jay’s older brother) wrote “Heaven Changes Everything” with Jeff Pardo and Matthew West.
“This song hitting No. 1 means so much to us, especially in light of my brother Jay going home,” Mike Weaver tells Billboard. “The stories that we hear from people who have heard this song and have gone through something like this have ministered to us and have given purpose to the pain we’ve been going through.”
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In addition to Mike Weaver, Big Daddy Weave is comprised of Brian Beihl, Jeremy Redmon and Joe Shirk.
Big Daddy Weave first topped Christian AC Airplay with “Every Time I Breathe” for three weeks beginning in June 2007. It had most recently reigned with “Alive” for three frames in August 2019.
On the Christian Airplay chart, “Heaven Changes Everything” ranks at No. 3, after reaching No. 2, with 5.8 million audience impressions (up 2%). Big Daddy Weave has notched seven No. 1s among 21 top 10s on the survey.
“Heaven Changes Everything” follows Big Daddy Weave’s collaboration with Katy Nichole, “God Is in This Story,” which led Christian Airplay for two weeks and reached No. 2 on Christian AC Airplay in late 2022.
Big Daddy Weave’s Heaven Changes Everything Tour is set to start Sept. 20 in Meadville, Penn., and wrap Nov. 5 in Port St. Lucie, Fla. Hannah Kerr and Tasha Layton will serve as supporting acts.