Chart Beat
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More than half of the debuts on this week’s July 22-dated Billboard global charts come from Taylor Swift, as she lands 22 new entries from Speak Now (Taylor’s Version). But despite her record-tying haul, she doesn’t score the highest new entry on either list.
This week’s Hot Shot Debut comes courtesy of NewJeans, starting at No. 2 on the Billboard Global 200 and Billboard Global Excl. U.S. rankings with “Super Shy.” For good measure, the South Korean group adds a second arrival, the eponymous “New Jeans,” at Nos. 32 and 19, respectively.
“Super Shy” starts with 63 million streams and 6,000 downloads sold worldwide in the week ending July 13, according to Luminate. Not only is it NewJeans’ highest-charting single yet, its first frame yields the biggest one-week streaming total of the group’s career, surpassing the 46.5 million clicks for “Ditto” in the week ending Jan. 5.
NewJeans’ new peak is another in a year of building success. The five-person group – Danielle, Haerin, Hanni, Hyein, and Minji – earned its first global chart hit when “Attention” debuted on the Aug. 13, 2022-dated Global Excl. U.S. listing at No. 174. “Hype Boy” debuted one week later, and “Cookie” the week after that, signaling the arrival of K-Pop’s new contenders.
At the turn of the year, “Ditto” and “OMG” hit the top 10 of both lists, with the former reaching as high as No. 4 on Global Excl. U.S.
Just before the one-year anniversary of NewJeans’ global chart debut, “Super Shy” extends the group’s peak, blocked from the top spot by Olivia Rodrigo’s “Vampire” on the Global 200 and by Myke Towers’ “LaLa” on the Global Excl. U.S. tally.
NewJeans’ international strength continues to spread. The group’s roster of hits has performed well on Billboard’s Hits of the World charts, crowning lists across Asia, including multiple No. 1s in Singapore, Taiwan and its native South Korea. “Super Shy” debuts atop those rankings and marks the group’s first chart-topper in Hong Kong and Malaysia.
Further, “Super Shy” is breaking ground in English-language markets as the first NewJeans track on Australia Songs, debuting at No. 22. In the U.S., it instantly becomes the group’s highest-charting entry on the Billboard Hot 100, arriving at No. 66.
Taylor Swift matches P!nk for the most No. 1s among soloists in the history of Billboard’s Adult Pop Airplay chart, as “Karma” ascends to the top of the tally dated July 29. The song becomes her 10th leader. Among all acts, Swift and P!nk trail only Maroon 5, with a record 15 No. 1s. The […]
BTS star Jung Kook just misses out on his first solo chart crown in Australia, as “Seven” starts at No. 2.
Featuring rapper Latto, “Seven” (via ING/Universal) arrives on the ARIA Chart, published July 21, behind Dave and Central Cee’s “Sprinter” (Virgin Music Australia/Universal), which races away for its sixth non-consecutive week at No. 1.
That’s easily the best solo effort for the K-pop superstar, who featured on Charlie Puth’s 2022 release “Left And Right,” peaking at No. 19 on the national tally. Latto’s previous best was a No. 6 peak for 2021’s “Big Energy” featuring DJ Khaled.
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Also new to the ARIA Singles Chart is Billie Eilish, with “What Was I Made For?” (Interscope/Universal) from the soundtrack to the Barbie movie, which has opened in theaters countrywide. “What Was I Made For?” debuts at No. 8, for the U.S. pop star’s 14th top 10 single in these parts, a collection that includes her chart-leader from 2019, “Bad Guy.”
Two other Barbie numbers are on the climb this week: “Barbie World” by Nicki Minaj, Ice Spice and AQUA (up 42-23) and Dua Lipa’s “Dance The Night” (up 40-27), both via Atlantic/Warner.
Australian pop artist Troye Sivan bags his 12th top 50 single with “Rush” (EMI), lifted from his forthcoming album, Something To Give Each Other, slated to drop in October. “Rush” is new at No. 12, and not far from his career best chart position, a No. 10 peak for 2014’s “Happy Little Pill.”
It’s all Taylor Swift on the ARIA Albums Chart as Speak Now (Taylor’s Version) (via Universal) retains top spot for a second week. A week ago, Swift’s third and latest “Version” LP replaced her own Midnights album at the summit, a handover never seen before on the Australian chart.
The two-week stint for Swift’s recorded Speak Now album eclipses the one-week reign for its original, from 2010, ARIA reports.
The highest debut on the albums tally belongs to legendary Australian artist Tina Arena, whose new set Love Saves (Positive Dream/ADA) starts at No. 2. Arena now boasts nine top 10 albums, including No. 1s for 1994’s Don’t Ask and 1997’s In Deep. Earlier this year, Arena was the inaugural recipient of Rolling Stone Australia’s Icon Award, which she received during a ceremony in Sydney.
Swift secures three of the top 5, with Midnights holding at No. 3 and Lover unchanged at No. 4.
“Los Del Espacio” by LIT Killah, Tiago Pzk, Maria Becerra, Duki, Emilia, Rusherking, Big One and FMK rules the Billboard Argentina Hot 100 chart (dated July 15) for a sixth week. With the new week at No. 1, the song breaks from a tie for the second-longest command in 2023, trailing only Emilia, Big One and Callejero Fino’s “En La Intimidad” which ruled for seven weeks this year.
Meanwhile, Becerra places two other tracks in the top 10, starting with “Corazón Vacío,” which holds at its No. 2 high for a third consecutive week, while “Adiós,” with Ráfaga, dips 5-6.
Myke Towers earns his seventh top 10 as “LaLa” rallies up the chart from No. 12 to No. 3. It’s the Puerto Rican’s highest ranking since “Pareja del Año,” with Sebastián Yatra, peaked at No. 2 in May 2021.
The week’s Hot Shot Debut goes to “Atorrante,” the collab by Argentinians Emanero, Ulises Bueno and Migrantes, at No. 34.
Elsewhere, Quevedo adds his 11th entry with “Columbia” at No. 35, while 15-year-old Milo J picks up his eighth entry as “Rincón,” produced by Big One, bows at No. 43.
Singer-songwriter BM takes the week’s Greatest Gainer as “Ni Una Ni Dos” surges 90-47. Plus, the Argentinian scores another entry through his featured role in Luck Ra’s “La Morocha”, at No. 64.
Lastly, two other songs debut this week: Peso Pluma and Grupo Frontera’s“Tulum” at No. 93 and DJ Tao and Karina’s “DJ Tao Turreo Sessions #18” at No. 100.
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Gunna claims his first No. 1 on Billboard’s Hot R&B/Hip-Hop Songs chart as “Fukumean” advances from the runner-up spot on the list dated July 22. The single, the breakout hit from his album, A Gift & a Curse, leads as it continues to improve in all three metrics that inform the chart – streaming, radio airplay and sales.
As Gunna captures his first champ on the genre chart, he outdoes his previous best of No. 2 for “Pushin P,” with Future and featuring Young Thug, from January 2022. “Fukumean,” likewise, takes the crown on the Hot Rap Songs chart – another first for the rapper – and ascends 8-7 on the all-genre Billboard Hot 100.
“Fukumean,” released on Gunna/Young Stoner Life/300/3EE, traces most of its chart-topping week to a 23.7 million official U.S. stream haul in the week ending July 13, according to Luminate. Notably, the song has increased in streams each week since its release, having started with 15.2 million in its debut frame and risen to 18 million, 20.2 million and now 23.7 million in subsequent weeks. Before “Fukumean,” Steve Lacy’s “Bad Habit” was the last Hot R&B/Hip-Hop Songs No. 1 to begin with three consecutive weeks of streaming gains, from 5.3 million clicks in its first full week, to 9.7 million, 17.3 million and 18.5 million in succeeding frames.
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Thanks to its 23.7 million sum in the latest tracking window, “Fukumean” retains its crown for a third week on R&B/Hip-Hop Streaming Songs. It likewise repeats, though at No. 4, on the all-genre Streaming Songs list.
In the sales market, “Fukumean” sold 1,000 downloads in the week ending July 13, up 37% from the prior frame. The gain pushes the song 23-16 on R&B/Hip-Hop Digital Song Sales.
For radio airplay, meanwhile, “Fukumean” registers for the first time on a Billboard airplay chart with its No. 40 arrival on Mainstream R&B/Hip-Hop Airplay, where it climbed 45% in plays as it begins its official, label-promoted rollout. The track is being serviced to R&B/hip-hop and rhythmic radio stations, and, given its obvious popularity with listeners through streaming metrics, should be a strong contender for the upper reaches of radio ranks soon.
“Fukumean” appears on Gunna’s latest studio album, A Gift & a Curse, released on June 16. The set debuted at No. 1 on the Top R&B/Hip-Hop Albums chart and secured Gunna’s fourth consecutive champ. On the latest list, the set ranks at No. 3.
Since forming in 2015, Dead & Company has been one of the most consistent touring entities, mounting 10 separate tours in less than eight years. The last of those, its 2023 summer outing, wrapped on Sunday (July 16) and set an entirely new standard for the band, just as it is hanging up the mantle. According to figures reported to Billboard Boxscore, the Dead & Company Summer Tour 2023 grossed a new high of $114.7 million and sold 845,000 tickets across 28 shows.
The supergroup’s previous best was $53.7 million, earned during its Fall Tour 2021.
Dead & Company established a relatively unfussy format to its tours, much like its approach to setlists and song structure. The band sticks to the U.S. and Canada and plays in brief sprints of anywhere from 10 to 30 shows at a time. Even the name of each tour is plainly stated – Dead & Company 2015 Tour, Dead & Company Summer Tour 2017, Dead & Company Summer Tour 2018 and so on.
Dead & Company is comprised of former Grateful Dead members Bob Weir, Mickey Hart and Bill Kreutzmann, plus John Mayer, Oteil Burbridge and Jeff Chimenti.
Carrying on the legacy of the Grateful Dead, revenue and attendance have been steady as well. Average grosses have mostly stuck between $1 million to $2 million per show, and nightly attendance between 10,000 and 20,000. Routings have seamlessly woven arenas and amphitheaters, with a sprinkling of stadiums in select markets.
That all changed with Dead & Co.’s most recent dates. The announcement of the band’s final tour gave some extra momentum, as farewells are known to do. More than half of this year’s shows were played in stadiums, leveling up in Philadelphia, San Francisco and more.
Dead & Company’s final three shows at San Francisco’s Oracle Park (July 14-16) grossed $24.4 million, becoming the highest grossing engagement of the band’s tenure. A three-show stint at Boulder’s Folsom Field (July 1-3) sold 131,000 tickets, marking its best-selling report ever. Eight-figure grosses continue with double-header stadium stops in Chicago ($11.7 million), Boston ($11.6 million) and New York ($11.1 million).
Across all 28 shows, Dead & Company averaged $4.1 million and 30,200 tickets. Those figures are up by 69% and 46%, respectively, from last summer’s tour, easily setting new peaks for the band. Billboard has reported on many post-pandemic tours that have set new personal highs for a variety of artists. But even amidst the excitement of a farewell, there’s an extra level of skill in doing so after touring every single year (with the obvious exception of 2020) since 2015.
This may feel familiar for Grateful Dead members Weir, Hart and Kreutzmann. The band was one of the biggest touring acts of all time, also a group of habit in terms of routing and revenues. While its touring career launched in 1965 — decades before the advent of Billboard Boxscore — its early ‘90s tours delivered remarkably consistent results, routinely selling between 20,000-25,000 tickets per show. For every year between 1991 and 1995, the Grateful Dead was among the top 10 on Boxscore’s year-end Top Tours ranking, coming in at No. 1 on the inaugural ‘91 list and again in ‘93.
But upon its return in June 2015 (four months before Dead & Company’s first tour), Fare Thee Well: Celebrating 50 Years of the Grateful Dead sold more than 360,000 tickets in just five shows, experiencing the full glory of a comeback and a goodbye, all at once.
Now, the Grateful Dead’s latest era ends, as its John Mayer-fronted lineup played its final shows to similarly spectacular results. After 10 tours, plus three editions of the destination event Playing in the Sand, Dead & Company has earned $455.9 million and sold 4.1 million tickets from 212 concerts.
Welcome to Billboard Pro’s Trending Up newsletter, where we take a closer look at the songs, artists, curiosities and trends that have caught the music industry’s attention. Some have come out of nowhere, others have taken months to catch on, and all of them could become ubiquitous in the blink of a TikTok clip. This week: Jung Kook’s Latto-assisted new single looks on its way to being another BTS solo smash, a couple very different singer-songwriters go viral, Rylo Rodriguez takes the next step to hip-hop stardom and more.
Jung Kook & Latto’s ‘Seven’ Sprints Out to Seven-Figure Daily Streams
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After Jung Kook made a solo pop splash last year alongside Charlie Puth with “Left & Right,” which peaked at No. 22 on the Billboard Hot 100, early indications are that “Seven,” the BTS member’s new collaboration with Latto, will climb even higher. The rhythmic pop single got off to a scorching streaming start upon its release last Friday (July 14), with 5.11 million U.S. on-demand streams that day, according to Luminate.
That number dipped over the weekend, but was still comfortably clocking over 2.5 million daily streams through Monday, accruing 13.7 million total streams in its first four days of release. Meanwhile, “Seven” earned over 34,000 in digital sales on Friday, and added another 32,000 digital copies from Saturday to Monday – with more sales expected from the set’s CD single, which is currently listed as “sold out” on the official BTS webstore.
Produced by Watt and Cirkut, “Seven” sports a shuffling beat, surprisingly explicit hook (“You know night aftеr night / I’ll be f–kin’ you right / Seven days a week,” Jung Kook sings) and combination of pop and rap that could work well at top 40 radio (with the song’s clean edit, of course). We’ll know early next week just how high “Seven” can debut, but after his BTS group mate Jimin scored a solo No. 1 single earlier this year with “Like Crazy,” Jung Kook is probably just a few days away from having his highest-charting single as a lead artist. – JASON LISPHUTZ
Faye Webster Once Again the Definition of Indie Virality
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Faye Webster has gone viral once again. Last summer, Billboard reported that two versions of the singer-songwriter’s “Kingston” were trending among TikTok viewers, giving her a 92% gain in streams over about a seven week period, according to Luminate.
Now, “I Know You,” a previously little-known song from Webster’s back catalog, is spiking on TikTok. Released on her self-titled 2017 album, “I Know You” is being used to accompany a myriad of different types of videos, but it has been particularly popular for creators to share photos juxtaposing themselves as children versus now, while typing out the lyrics on screen: “I’ll quiet down if it’s what you want / I understand I’m not the only one / for you.”
“I Know You” began picking up on TikTok slowly starting in late Spring and reached a boiling point at the top of July. Since June 30th, the track has seen a 279.1% gain in streams – while on top of the “I Know You” gains, Webster’s new single “But Not Kiss” is also faring well on the app. All of this has led to the Secretly Group signee re-entering and No. 26 on Billboard’s Emerging Artists chart. Plus, her Spotify monthly listeners are now outpacing other indie heavy-hitters like boygenius, Wet Leg and Remi Wolf. – KRISTIN ROBINSON
Laufey’s ‘From the Start’ Speeds Up Into an Unlikely Hit
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“From the Start,” the delicate, bossa nova-inspired new single from Laufey, is a modern take on a classic love triangle, as the Icelandic-Chinese jazz singer-songwriter waxes poetic about being in love with her best friend — who is, of course, in love with someone else. “Don’t you notice how/ I get quiet when there’s no one else around?/ Me and you and awkward silence,” she laments to open the song — and since the May release of “From The Start,” TikTok users have gradually picked up on Laufey’s yearning, with the song has starting to go viral.
The TikTok clips generally focus on those opening lines, and almost always use a sped-up version of “From the Start” — which Laufey herself has embraced, posting various clips of herself reacting to, and dancing along with, the new tempo of the track. Meanwhile, streams of the original “From the Start” are rapidly growing: the song earned 2.1 million U.S. on-demand streams in the week ending July 14, up 50% from the previous week’s total, and its daily streaming total this Monday (644,000) was up a whopping 146% from the previous Monday (261,000).
Laufey has spent plenty of time on jazz streaming playlists since her 2021 debut EP Typical of Me, but as of Wednesday, “From The Start” has brought her to Spotify’s Top 50 U.S. chart. In September, Laufey will perform a special showcase with the Los Angeles Philharmonic Orchestra — perhaps she’ll play “From The Start” in both its standard and sped-up versions, and be able to tout her first career Hot 100 hit by then. – JL
Rylo Rodriguez Rides Sophomore Album Success to Strong Streaming Gains
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Last month (June 30), Rylo Rodriguez, a protégé of hip-hop superstar Lil Baby, released Been One, his sophomore studio album. The set debuted at No. 10, earning Rylo his first top ten album on the Billboard 200, and remained in the chart’s top fifteen in its second week. The album’s impressive stability has been bolstered by the breakout streaming success of two of its tracks: social media phenomenon “Equal Dirt” and the NoCap-featuring “Thang for You.”“Equal Dirt” has quickly become a meme across social media with Rylo’s “B—h, who dis fah?” ad-lib soundtracking thousands of hilarious TikToks. On the social media app, the official “Equal Dirt” sound has collected nearly 60,000 videos in a little over two weeks. The most common use of the sound is to set the scene for a staged scenario in which one partner in a relationship is demanding clarity from their significant other regarding a found item, which sparks suspicions of infidelity. The line has even proven itself irresistible to Rylo’s peers — like Grammy-nominated rapper Latto, who recently tweeted the phrase. According to Luminate, “Equal Dirt” has earned 3.15 million official on-demand U.S. streams during the period of July 7-14, a nearly 40% increase from the period of June 30-July 6.“Thang for You,” one of Been One’s pre-release singles, has also posted sizable streaming gains. While the song has gained relatively less fervent traction on TikTok — its official sound only boasts a little over 16,000 videos — it is still earning some of the album’s strongest streaming tallies. During the period of July 7-14, “Thang for You” collected just over 6 million official on-demand U.S. streams, a 4% increase from the week prior. Rylo’s collaboration with NoCap pulled a 33% increase streams following the release of the full album. Much of the song’s success can be attributed to its somber sample of Snoh Aalegra’s “Do 4 Love,” her rendition of the late Bobby Caldwell’s “What You Won’t Do For Love.” – KYLE DENIS
Warren Zeiders Gets Into the Bloodstream of DSPs With “Pretty Little Poison”
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As Morgan Wallen, Luke Combs, and Jelly Roll continue to flourish on both the Billboard 200 and the Billboard Hot 100, they are lifting an entire class of country stars with them. Warren Zeiders, a rising country star who has previously used TikTok snippets to secure single success, is already cementing himself as a standout of that rising class.Released back in March, “Pretty Little Poison” has been gaining traction for months now, but the song has recently become a trending sound for country-adjacent TikTokers to flaunt their significant others. The official “Pretty Little Poison” sound currently boasts over 41,000 videos on TikTok. Zeiders himself has two TikToks of him performing the song that have amassed over one million views each. Buoyed by the song’s relatable lyrics and Zeiders’ sultry online persona, both his profile and “Pretty Little Poison” have been on the rise. “Pretty Little Poison” collected 3.5 million official on-demand U.S. steams during the period of July 7-14, a 26% increase from the period of June 30-July 6. As Zeiders preps the release of his sophomore album of the same name, slated for an Aug. 18 release, “Pretty Little Poison” should continue its ascent on streaming. – KD
Wham! Documentary Makes Duo Big Again on Streaming
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The documentary Wham!, telling the story of the ‘80s U.K. chart-topping pop duo of the same name (largely via rare archive footage), debuted on July 5 on Netflix to mostly rave reviews. Fans seem to have responded to it as well, as consumption for the duo has increased greatly in the two weeks since its release: Their weekly U.S. on-demand audio streams rose from just over 4.6 million for the tracking week ending June 29 to nearly 6.6 million for the week ending July 14, according to Luminate (a 41% increase), while their digital sales have rocketed from around 1,100 to over 7,000 over that same timespan (a 537% boom). The doc has also boosted George Michael’s solo numbers, as his streams over that period have climbed from 3.4 million to 4.4 million (up 30%), while his sales hiking from 1,500 to 4,300 (up 187%). – ANDREW UNTERBERGER
La Maquinaria Norteña continues its winning streak as its latest single, “Te Quiero Ver,” lifts 2-1 to rule Billboard’s Regional Mexican Airplay chart dated July 22. It’s the third No. 1 for the Roswell, N.M.-based group, all of which arrived less than a year ago. “Te Quiero Ver” takes the lead on Regional Mexican Airplay […]
From the anthemic “EA” to the resilient “Pissy Pamper” — the latter of which never saw an official release due to sample clearance issues, but still thrived through repeated unofficial streaming uploads — Young Nudy has been helping drive the culture with his rap music for the better part of a decade. Between his idiosyncratic beat selections and bouncy cadence, Young Nudy has cultivated a sound that smartly balances ominous grit with genuine, unadulterated fun.
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Currently, he’s enjoying his biggest hit to date, with “Peaches & Eggplants” becoming Nudy’s first entry on the Billboard Hot 100 as a lead artist. Boosted by its popularity on TikTok, its tongue-in-cheek take on sex-rap and “boaw boaw” ad-libs, the track from his February album, Gumbo, has spent six weeks on the all-genre songs chart.
“Peaches & Eggplants,” which features Grammy-winning rapper (and Nudy’s cousin) 21 Savage has reached a No. 61 best since its June entrance, tying for Nudy’s second highest-peaking Hot 100 hit. Previously, his first appearance on the chart came in 2019 as a featured artist on Dreamville’s Grammy-nominated posse cut “Down Bad” (No. 64); the following year, he returned with two more entries thanks to Lil Uzi Vert’s “Money Spread” (No. 89) and 21 Savage & Metro Boomin’s “Snitches & Rats” (No. 61); last year, Nudy reunited with Metro Boomin and 21 Savage on “Umbrella,” a track from the former’s Billboard 200-topping Heroes & Villains that gifted Nudy his highest Hot 100 peak yet (No. 23).
According to Luminate, “Peaches & Eggplants” has collected 78.9 million official U.S. on-demand streams and 3,000 digital downloads, as of July 18. As the song continues to build at radio, Billboard caught up with Young Nudy to chat about his Hot 100 success, the track’s music video and what comes next for the rapper.
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Tell me a bit about the creative process for “Peaches & Eggplants.”
I ain’t even gonna play like I was on some intentional s—t — it was just me playing around in the studio and being goofy. I was just being silly with my buddies.
How did you know that 21 Savage was the right choice of collaborator for this song?
Honestly, that was his choice! He wanted to hop on the motherf–ker. He heard it and was like, “What’s that lil “boaw boaw” song that you got? Let me hop on that s—t,” and we just made it happen.
The song has had a relatively slow rise — did you always know that this was a special one? Or did this level of success come as a surprise to you?
It was more a surprise for me. In my mind, when it comes to my music, I’m not really one of those types of people that’s concerned with numbers. I like to feed my fans, because I know I’ma do numbers regardless. When I seen how people were reacting to [the song], I was kind of shocked, like “Oh, this that radio type of music that they like.”
Why did you wait to drop the music video?
I don’t like to drop the song that everybody wants first. That wouldn’t make sense. I like to let my other songs get a little shine too. That’s why I dropped “Pancake” first, before I dropped “Peaches & Eggplants” — the one everybody was waiting on.
The music video looked like a great time. How did that come together?
That s–t ratchet! (Laughs.) That motherf–ker was lit though! It really wasn’t even that many people at first. I was like, “You know what? I’m finna make this s–t public for everybody to come.” Because I just want everybody to have fun. I’m a down-to-earth type of person, so I don’t really care about having a lot of people around me who just wanna kick it, when it comes to certain situations.
What was your reaction when you first saw people using “Peaches & Eggplants” on TikTok?
When I first saw it, it really ain’t hit me like that for real. When it first came out, I was getting videos with all my damn music, so I didn’t even really know when it first started to pop.
Have you started eyeing your next single off Gumbo, or are you thinking of moving on to another project?
I’ve probably got about two more videos I’m a shoot. I’m finna shoot “Passionfruit” and “Okra.” I just shot “Portobello” like two weeks ago. “Portobello” [is gonna] come out next after “Peaches & Eggplants,” then I’m a hit them folks with “Passionfruit” and “Okra.”
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You pick really unpredictable, eccentric beats. How did you go about matching each beat to its eventual food-centric title? What was your process for crafting and sequencing Gumbo?
When me and Coupe get together, we do magic. Really with any producer, I can lock in. If I don’t lock in with them, then s–t don’t come out the way I want it to sound or feel.
How are you handling your profile rising even more thanks the success of “Peaches & Eggplants?”
It’s really nothing that’s too new to me. I tell anybody — I been selling out shows, I been making a lot of money off this music s–t, so I ain’t even really tripping. But I’m grateful for it.
“Peaches & Eggplants” sits alongside some other spicy rap hits like “Slut Me Out” and “Pound Town” where they’re sexy, but they’re also kind of funny. What do you think about this recent wave of songs?
It’s a lot of freaky ass people out there in the world! [Laughs.] I been in the freakiness since “Yeah Yeah” though!
What does the Billboard Hot 100 mean to you? And what does it mean that you now have your very first hit on the chart as a lead artist?
I guess I’m really just grateful and thankful for it. I don’t really know too much what to say. I’m not trying to compete with no song or all that type of s–t. I’m a just keep making music and keep going hard. That’s all there is to it.
Do you have any more goals you’d like to hit with “Peaches & Eggplants”?
Hell yeah, I’m trying to get a No. 1! I wanna see how that feels. I get my No. 1, I might have a lot s–t to say to everybody on the Internet. [Laughs.]
A version of this story originally appeared in the July 15, 2023, issue of Billboard.
YOASOBI’s “Idol” sets a new record this week on the Billboard Japan Hot 100, logging its 14th consecutive week at No. 1 on the chart unveiled July 19.
The Oshi no Ko opener debuted atop the chart released April 19 and has stayed there ever since, now breaking Billboard Japan’s all-time record for consecutive weeks at No. 1. While overall points for the track is moderately declining, points for downloads increased slightly (No. 2). It continues to dominate streaming and karaoke for the 8th straight week and also comes in at No. 2 for video views and No. 10 for radio airplay, still ahead of the No. 2 song by approximately 1.8 times the total points. In addition, the song hit 300 million total streams this week, which also breaks Billboard Japan’s record for fastest to mark the milestone.
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Notably, YOASOBI’s Ayase’s collaborative project with Creepy Nuts rapper R-Shitei (R-rated) called “Hiten” debuts on the Japan Hot 100 at No. 73. The opener for the new TV anime series Rurouni Kenshin was digitally released July 6 and hits the Japan song chart this week after reaching No. 14 for downloads and jumping 55-24 for radio.
At No. 2 this week is BTS member Jung Kook’s solo single “Seven (feat. Latto),” released July 14. Campaigns on streaming platforms played a part in the track hitting 4,608,696 streams to come in at No. 14 for the metric. The song also ruled downloads with 39,170 units, while the music video released on July 15 hit 74.88 million views on YouTube alone (as of July 19) in just four days since its release (No. 1 for video).
Kitani Tatsuya’s “Where Our Blue Is” rises 8-3 after debuting on the Japan Hot 100 last week. Streaming for the Jujutsu Kaisen Season 2 opener increased 2.3 times from the previous week to 8,907,498 streams, landing the song at No. 2 behind “Idol” for the metric. It also came in at No. 3 for downloads (14,362 units), No. 15 for radio, and No. 28 for video. With the CD version coming out today (July 19), its performance on next week’s chart is something to keep an eye on.
NewJeans’ new song “Super Shy,” released digitally on July 7, breaks into the top 10 this week from No. 60. This is the lead track off the breakout K-pop girl group’s second EP Get Up, due July 21 in Japan. It’s off to a good start ahead of the “Ditto” group’s first new release in about six months, reaching No. 7 for streaming (6,167,279 streams), No. 7 for radio, No. 8 for video and No. 39 for downloads (1,641 units).
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Mrs. GREEN APPLE, currently on their domestic arena tour, charted four songs in the top 20 this week. While “Magic” off the pop-rock band’s latest album, ANTENNA, slips 5-6 on the Japan Hot 100, it rises to No. 6 for downloads and video. “Que Sera, Sera” rises 11-8 powered by a significant increase in downloads. “Dancehall” holds at No. 16 and “Ao to Natsu” moves 14-11, with points in karaoke showing a gradual increase overall.
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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 July 10 to 16, here. For more on Japanese music and charts, visit Billboard Japan’s English Twitter account.