Chart Beat
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Cage the Elephant notches its 13th No. 1 on Billboard’s Alternative Airplay chart, tying for the second-most rulers in the tally’s history.
“Metaverse” is the band’s latest leader, jumping three spots to the top of the April 12-dated survey.
The Matt Shultz-led band moves into a tie with Green Day and Linkin Park. Red Hot Chili Peppers lead with 15 Alternative Airplay toppers, dating to the list’s September 1988 inception.
Most No. 1s, Alternative Airplay:15, Red Hot Chili Peppers13, Cage the Elephant13, Green Day13, Linkin Park12, Foo Fighters11, Twenty One Pilots8, U28, Weezer7, The Black Keys7, Imagine Dragons
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“Metaverse” gives Cage the Elephant its fourth No. 1 in a row, the band’s longest streak, besting two other runs of three straight (in 2010-11 and 2015-16). The current stretch dates to 2021, also encompassing “Skin and Bones” that year and “Neon Pill” and “Rainbow” in 2024. The band first topped the chart in 2010 with “Back Against the Wall.”
Concurrently, “Metaverse” bullets at its No. 6 best on Adult Alternative Airplay. On the all-rock-format, audience-based Rock & Alternative Airplay chart, it lifts 9-7 with 3.3 million audience impressions (up 8%) in the week ending April 3, according to Luminate.
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“Metaverse” is the third single from Neon Pill, Cage the Elephant’s sixth studio album. The set debuted at No. 7 on the Top Alternative Albums chart last June and has earned 89,000 equivalent album units to date.
All Billboard charts dated April 12 will update Tuesday, April 8, on Billboard.com.
Alex Warren has continued his dominant streak at the summit of the U.K. Singles Chart for a third consecutive week with breakout hit “Ordinary” (Apr. 4). The US singer-songwriter and influencer holds off competition from Chappell Roan, Doechii, and Ariana Grande to keep the spot following a third consecutive week of growth. Official Charts Company […]
LOCASH leads Billboard’s Country Airplay chart (dated April 12) for the first time since 2016 as “Hometown Home” ascends a spot to No. 1. The song increased by 10% to 30.1 million audience impressions March 28-April 3, according to Luminate. Explore Explore See latest videos, charts and news See latest videos, charts and news The […]
Mumford & Sons has returned to the top of the U.K.’s Official Albums Chart for the first time in nearly a decade with the release of Rushmere (Apr. 4).
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The folk group’s fifth studio album – their first since 2018’s Delta – has placed them back at No. 1, and follows two previous chart-toppers: 2012’s Babel and 2015’s Wilder Mind. Their huge 2009 debut, Sigh No More, peaked at No. 2, as did Delta. Each of the band’s LPs – minus Sigh No More – has topped the Billboard 200.
Rushmere is the first LP from the group since the departure of guitarist Winston Marshall who left the band in 2021, with Marcus Mumford, Ben Lovett and Ted Dwayne continuing as a trio.
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The group’s upcoming arena shows sold out instantly upon ticket release last week, and will include two dates at London’s The O2, alongside dates in Manchester, Birmingham, Leeds, Newcastle, Cardiff, Glasgow and Sheffield in November and December.
Rock band The Darkness finish the week at No. 2 with eighth studio album Dreams on Toast, their highest spot for 22 years. Earlier this week, guitarist Dan Hawkins threw down the gauntlet in the chart battle with Mumford & Sons, saying to Classic Rock that he was “confident” that Dreams on Toast would go to No. 1, adding “We’re going to beat those c—s.” The flamboyant rockers’ 2003 debut Permission To Land remains their sole chart-topper in the U.K.
Following the release of a deluxe edition, Ariana Grande’s Eternal Sunshine returns to the top five, finishing the week at No. 3. The album first went to No. 1 upon its initial release in March 2024 and spawned two singles “Yes And?”, and “We Can’t Be Friends (Wait for Your Love)” which both hit No. 2 on the Official Singles Chart.
Sabrina Carpenter’s Short n’ Sweet finishes the week at No. 4 while indie hero Lucy Dacus’ Forever is a Feeling finishes at No. 5. In 2023, the debut album from Boygenius – comprised of Dacus, Phoebe Bridgers and Julien Baker – hit the top spot on the U.K. Albums Chart.
Chappell Roan’s “Pink Pony Club” enters the winners circle on Billboard’s Pop Airplay chart, jumping three spots to the top of the April 12-dated ranking. She leads the list for a second time, after “Good Luck, Babe!” hit No. 1 for a week last September. “Pink Pony Club,” on KRA/Amusement/Island Records and promoted to radio […]
Ariana Grande is back on top of the ARIA Albums Chart — and in spectacular fashion.
The pop star’s Eternal Sunshine rebounds from No. 79 to No. 1 following the release of a new deluxe version titled Eternal Sunshine Deluxe: Brighter Days Ahead. The 78-spot leap marks the biggest jump to No. 1 from within the top 100 since September 2020, when Music From The Home Front soared from No. 83 to the top.
Grande’s original version of Eternal Sunshine spent three weeks at No. 1 in March and April 2024, and this latest return secures her fifth career chart-topper in Australia. She previously hit No. 1 with My Everything (2014), Dangerous Woman (2016), Sweetener (2018), and Thank U, Next (2019).
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Sydney-based singer-songwriter Grentperez celebrates a major career milestone this week, as his debut album Backflips in a Restaurant enters the chart at No. 3. While Grentperez has released four EPs since 2021 and notched three top 40 hits in New Zealand, this marks his first Top 10 debut in his home country.
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Mumford & Sons return with Rushmere, their first new album in nearly seven years and their first without founding member Winston Marshall. The British folk-rock outfit enters at No. 7, adding to a solid run on the ARIA Albums Chart that includes previous peaks with Sigh No More (No. 1 in 2009), Babel (No. 2 in 2012), Wilder Mind (No. 1 in 2015), and Delta (No. 5 in 2018).
Elsewhere, The Darkness land at No. 45 with their eighth studio album, Dreams on Toast. The glam rockers previously charted three albums in the ARIA Top 20, including Permission to Land (No. 17 in 2003), Hot Cakes (No. 15 in 2012), and Pinewood Smile (No. 17 in 2017).
On the ARIA Singles Chart, Alex Warren holds steady at No. 1 for a second week with “Ordinary,” while Chappell Roan climbs to a new high at No. 4 with “Pink Pony Club” — matching the peak of her breakthrough hit “Good Luck, Babe!” from last year.
Grande’s rebound ties into a historical trend: while the 52-week gap between stints at No. 1 is notable, it falls short of the record held by Meatloaf’s Bat Out of Hell, which returned to No. 1 in January 2022 — more than 2,200 weeks after first topping the chart in 1978.
Leon Thomas checks off a chart milestone as his breakthrough single, “Mutt,” roars into the top 10 on Billboard’s Hot R&B/Hip-Hop Songs chart (dated April 5), jumping 37-10. The song, a steady gainer in recent weeks, enjoys an added boost on the chart, which blends streaming, radio airplay and sales data, in the first chart week since its remix with Chris Brown dropped on March 21.
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For the tracking week of March 21 – 27, “Mutt,” released on EZMNY/Motown/ICLG, earned 12.6 million official U.S. streams, up 63% from 7.7 million in the previous week, according to Luminate. Thanks to the haul, the track re-enters the R&B/Hip-Hop Streaming Songs chart at No. 8, eclipsing its previous No. 17 best rank, from two weeks ago. Shifting to the sales market, “Mutt” pounces 11-5 on R&B/Hip-Hop Digital Song Sales for its first week at the summit, with 2,000 downloads in the tracking period, up 113%.
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All versions of the song are combined into one entry for data tracking and chart purposes. As the original version of “Mutt” generated more streaming and overall activity than the remix, Brown is not added as a featured artist to the song on streaming and “Hot” charts, but is added to the sales-specific charts, where the remix outperformed the original.
In the radio world, “Mutt” registered 12.4 million audience impressions across all formats for the week, up 28% from last week’s 9.7 million count. Three formats continue to provide most of its radio support: It pushes 8-7 on the Adult R&B Airplay chart following a 10% increase in plays for the tracking week compared with the week prior, jumps 18-15 on Mainstream R&B/Hip-Hop Airplay (up 18%) and holds at No. 38 for a second week on Rhythmic Airplay (though up 42%).
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With across-the-board improvements, “Mutt” wins the week’s Streaming Gainer, Airplay Gainer and Sales Gainer awards on Hot R&B/Hip-Hop Songs for the largest increases in each metric. It’s the first song to score the triple play since Eminem’s “Houdini” took all three on the chart dated July 27, 2024.
Elsewhere, “Mutt” climbs 5-3 on the Hot R&B Songs chart and leaps 77-28 on the all-genre Billboard Hot 100, giving Thomas his top 40 visit on the latter list.
“Mutt” is the title track to Thomas’ second studio album, which was released in September 2024. Thanks to its namesake’s success, Mutt springs 25-10 on the Top R&B Albums chart and debuts at No. 33 on Top R&B/Hip-Hop Albums with 12,000 equivalent album units in the tracking week, its first time breaking the five-figure mark.
La T y La M extend their reign on the Billboard Argentina Hot 100 to a 12th consecutive week as “Amor De Vago,” featuring Malandro de América, holds steady at No. 1 on the chart dated April 4.
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With this milestone, the track ties with Maluma and The Weeknd’s “Hawái” for the fifth-longest reign of the decade. Above it are two Karol G hits: the record-breaking 25-week leader “Tusa” with Nicki Minaj (2020) and “Si Antes Te Hubiera Conocido” (2024–25). The latter ties at 16 weeks atop with Tiago PZK, Lit Killah, Nicki Nicole, and Maria Becerra’s “Entre Nosotros” (2021–22). Also ahead is Manuel Turizo’s “La Bachata,” which led for 15 weeks in 2022.
Cazzu takes the runner-up slot with her latest single, “Con Otra,” which starts at No. 2. In addition to being this week’s Hot Shot Debut, the song earns the Argentinian her highest entry among 18 career entries. Previously, “Animal,” with Maria Becerra, reached No. 5 high in 2021.
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Yami Safdie and Lasso’s “En Otra Vida” rebounds to the top 10, climbing 13-9, after the song peaked at No. 6 last December.
Emilia, TINI and Nicki Nicole add a new song to their extensive Billboard Argentina Hot 100 ledger with their first three-way collab “Blackout,” which arrives at No. 27.
Teddy Swims earns the Greatest Gainer honors of the week as “Lose Control” climbs 49 rankings, from No. 86 to No. 37. The singer-songwriter also adds a new song on the tally, “The Door” at No. 40.
Four other songs debut this week, starting with Q`Lokura and Los Herrera’s “Carita Triste” at No. 80, KHEA, DUKI and La Joaqui’s “Mi Señora” at No. 88, Elena Rose and Morat’s “Un Beso Menos” at No. 95, and Airbag’s “Cae El Sol” at No. 97.
Last week (March 26), Lady Gaga announced dates and venues for The MAYHEM Ball, marking her first tour in three years and the sixth such “ball” of her career, dating back to 2009’s The Fame Ball. With ticket sales rolling out this week (beginning March 31), Billboard estimates that the tour could land as her fourth trek to gross $100 million.
An ever-expanding slate of shows have pushed Gaga’s 2025 projections from the brink of $100 million to surging toward $125 million. But firm estimates for The MAYHEM Ball are tricky, because much in the spirit of Lady Gaga, the 2025 routing zigs where she has previously zagged. To use figures from her most recent outing – $5.6 million and 41,700 tickets per show on 2022’s The Chromatica Ball – would be to ignore the nuances of this year’s schedule.
The MAYHEM Ball winds Gaga through arenas in Europe and North America, following warm-up dates at Mexico City’s Estadio GNP Seguros and Singapore’s National Stadium (plus a free show in Rio de Janeiro) – at least as much as stadium shows can serve as a warm-up. It’s a swerve from the all-stadium routing on The Chromatica Ball, not to mention her theater residency in Las Vegas from 2018-24.
Upon the tour’s announcement, Gaga took to social media to celebrate her upcoming calendar. “We chose arenas this time to give me the opportunity to control the details of the show in a way you simply can’t in stadiums – and honestly, I can’t wait.”
Not only has Gaga oscillated from intimate theaters to football stadiums, but The MAYHEM Ball re-introduces some markets that she hasn’t played in decade, while foregoing some of the sold-out cities from her recent treks. Her shows in Seattle and Manchester will be her first proper concerts in those cities in 11 years. More dramatically, those stand-alone stops in Mexico City and Singapore will be her first since The Born This Way Ball in 2012.
Time is also a factor. Since Gaga’s last mostly-arena tour in 2017-18 (The Joanne World Tour), she has starred in three major-studio films, one of which won her an Academy Award for songwriting, plus a nomination for acting. She also released Chromatica and MAYHEM, both of which topped the Billboard 200 and spawned Billboard Hot 100 No. 1s, in addition to two jazz albums and the chart-topping soundtrack to A Star is Born.
Just as key, the concert business has undergone major transformation, first shutting down entirely for more than a year due to COVID-19 and then returning bigger than ever with skyrocketing ticket prices.
While recent projections for Beyoncé’s Cowboy Carter Tour were simple enough, carrying over many of the same venues from her previous tour just two years ago, the shape of The MAYHEM Ball is all its own.
Using the average ticket price from the markets that do carry over from The Chromatica Ball, and average-to-high capacity from each venue’s recent history, this year’s initial routing would be headed toward $80-85 million from about 700,000 tickets sold. A 15% rise in ticket prices would push the projected gross beyond $90 million and a 25% increase would clear the $100 million mark.
Those bumps consider the way that ticket prices have risen beyond the rate of inflation since her 2022 tour. And while The Chromatica Ball did take place after the post-COVID return as prices were already on the rise, tickets for six of its 20 shows were sold primarily in the (barely) pre-pandemic era, as the then-limited tour was first announced on March 5, 2020, just a week before venues were forced to close.
Notably, as Gaga undergoes a relative downsizing from stadiums to arenas, supply-and-demand could drive higher prices than on The Chromatica Ball, with far fewer seats available each night. Including multiple shows in certain locations, her 2025 schedule includes just six cities in the U.S. and Canada. That’s slightly less than eight for Chromatica, and much tighter than 35 on The Joanne World Tour and 33 on ArtRave: The Artpop Ball (2014). She makes up for it with multiple shows everywhere, including six at Madison Square Garden. Much like Beyoncé’s upcoming trek, sales could be even more competitive as fans from surrounding cities flock to Chicago, Miami, and New York, among few others.
Momentum behind The MAYHEM Ball and its international spin-offs has already gathered, with early demand forcing extra shows in those three markets plus a handful of others. Originally 38 shows, Gaga’s current slate of 50 ticketed dates is likely to surpass of The Chromatica Ball’s stadium-sized $112 million, potentially making it Gaga’s biggest year on the road since 2012.
Isolating the proper tour’s arena run, The MAYHEM Ball should approach the $100 million mark, possibly becoming Gaga’s forth tour to crack the nine-figure mark. It’d follow The Monster Ball (2009-11), The Born This Way Ball (2012-13) and The Chromatica Ball. The Joanne World Tour earned $94.9 million before cancelling its last 10 shows due to Gaga’s struggle with fibromyalgia. Plus, the Lady Gaga Enigma + Piano & Jazz residency brought in $110 million from 2018-24.
Dating back to her first reported headline show at San Diego’s House of Blues on March 12, 2009 ($18,500; 1,000 tickets), Gaga’s tours have grossed $723.1 million and sold 6.4 million tickets from a reported 462 shows.
Billboard Women in Music 2025
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.
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This week: An Amazon Prime season finale makes a 2020s streaming hit out of a 2010s alt-rock anthem, while Randy Travis’ eternal love song keeps on burning and Snoh Aalegra scores a long-overdue viral breakout.
‘Shine’ Bright: Mondo Cozmo Soars With ‘Reacher’ Synch
“Everything will be alright/ If you let it go,” Josh Ostrander, the singer-songwriter who records under the name Mondo Cozmo, sings on the chorus to his alt-folk anthem “Shine.” Released on his 2017 album Plastic Soul, “Shine” was a minor hit for Mondo Cozmo, climbing to the top of the Adult Alternative Songs airplay chart eight years ago; now, the track has resurfaced in a major way, after it was featured in the season 3 finale of the Amazon Prime Video smash Reacher, which was unveiled on Thursday (Mar. 27).
“Shine” earned 116,000 official on-demand U.S. streams in the first four days that the season finale was available(Mar. 27-30) — more than 1000% the total of the same four-day period during the previous week (9,900 streams from Mar. 23-26), according to Luminate. Meanwhile, “Shine” went from a negligible amount of sales during the previous the week to 2,400 downloads from Mar. 27-30, and nearly a week after the finale was released, the single remains the most-Shazamed song in the country. Even if “Shine” doesn’t receive a revival on the scale of Kate Bush’s “Running Up That Hill,” if the song’s streaming and sales total keeps pushing upward, Mondo Cozmo could make a return to the Billboard charts. – JASON LIPSHUTZ
“Forever and Ever,” Again – Randy Travis Country Classic Becomes Streaming-Era Hit
First released in 1987, “Forever and Ever, Amen” became not only a Country Songs-topping smash for Randy Travis, but an enduring standard and a signature song. While the song has never remained far from pop culture (and the country world in particular), in the past month it has taken on new life, both as the title of Travis’ recently announced upcoming biopic, and as the source of an emotional Carrie Underwood cover – both of which were revealed at the Grand Ole Opry last month, to very positive reception.
These new boosts, combined with the song’s lingering virality, have resulted in “Forever and Ever Amen” growing into a sizable streaming hit over the course of March. While the song was already racking up 1.8 million official on-demand U.S. streams for the final tracking week of February (ending Feb. 27), in the four weeks since that number has nearly doubled, as “Forever” amassed 3.5 million for the week ending March 27 – while the song’s digital sales have also exploded 565% for the same time period, to over 1,200.
If the song keeps growing, it could become a chart hit all over again – proving that the song really is as eternal as its title implies. – ANDREW UNTEREBRGER
Snoh Aalegra’s Has Her “Eyes” on TikTok Four Years After Song’s Release
Snoh Aalegra has been an R&B darling for years now, but “In Your Eyes” could land her a legitimate hit single. The groovy Neptunes-produced single is a deep cut from the Swedish singer’s 2021 Temporary Highs in the Violet Skies LP, which earned a best R&B album Grammy nod and peaked at No. 24 on the Billboard 200.
According to Luminate, streaming activity for “Eyes” has exploded nearly 540% over the next four weeks. Across the first few months of the year, the song naturally gained traction simply because users were discovering and vibing with it. On March 9, user @ruscowski11 posted a dance clip to “Eyes,” quickly kicking off a dance trend that spread to several different corners of the app. During the week of March 7-13, “Eyes” pulled 607,000 official on-demand U.S. streams, posting a 72% increase from the week prior, according to Luminate. In the first full week post-dance video (March 14-20), streams jumped a further 73%, topping out at 1.05 million streams. Last week (March 21-27), “Eyes” leapt another 51%, earning 1.59 million streams. The official “In Your Eyes” TikTok sound currently boasts over 62,000 clips on the platform.
Between Ravyn Lenae and Janet Jackson scoring viral TikTok hits in recent weeks, it looks like Snoh Aalegra is the latest to ride the app’s R&B wave. – KYLE DENIS
New Lingo, New Viral Track: Rob49 Scores Big With “WTHelly”
When Rob49 dropped “WTHelly” on March 21, the song earned 339,000 official on-demand U.S. streams in its first weekend of release (March 21-24). The following weekend (March 28-31), streaming activity for the song catapulted 373% to over 1.6 million streams.
The impetus? TikTok of course! Over the past week, Ro49’s new single has completely taken over the app, with users sharing their shock and amusement at the song’s outro. “What the helly?/ What the hellyanté?/ What the helly on?/ What the helly, Berry?/ What the helly, Burton?/ What the helly, ‘Bron James?/ What the helly Cyrus?” he spits, making a seemingly everlasting pun out of the phrase “what the helly,” a NOLA-steeped take on the more universal “What the Hell.” On TikTok, the song’s official sound has already earned a whopping 87,5000 clips, including several posts like Wiz Khalifa and Love Island star Leah Kateb.
With hits like “Wassam Baby” and “Trippin on a Yacht” already in the tuck, Rob49 is an eyeing another one with “WTHelly” — which has recently earned a Justin Bieber co-sign. – KD