Chart Beat
Page: 262
After a synch in Apple TV+’s The Crowded Room, Bill Withers’ “Lovely Day” leads Billboard’s Top TV Songs chart, powered by Tunefind, for June 2023.
Rankings for the Top TV Songs chart are based on song and show data provided by Tunefind and ranked using a formula blending that data with sales and streaming information tracked by Luminate during the corresponding period of June 2023.
Explore
See latest videos, charts and news
See latest videos, charts and news
“Lovely Day” can be heard in the series premiere of the new Apple TV+ series, which first aired alongside its first three episodes on June 9. In June 2023, “Lovely Day” earned 13.1 million official on-demand U.S. streams and 3,000 downloads, according to Luminate.
Released in 1977 and found on Withers’ album Menagerie from that same year, “Lovely Day” peaked at No. 30 on the Billboard Hot 100 in February 1978. The song returned to the Billboard charts upon its The Crowded Room synch, re-entering the R&B Digital Song Sales chart at No. 13 on the June 24-dated survey.
Irma Thomas’ “Anyone Who Knows What Love Is (Will Understand)” appears at No. 2 on Top TV Songs after being heard in the sixth season premiere of Netflix’s Black Mirror (June 15). The song earned 368,000 streams in June 2023. “Anyone Who Knows What Love Is (Will Understand)” was one of four songs from Thomas to reach the Hot 100, peaking at No. 52 in August 1964.
A pair of songs from Based on a True Story, a newly premiered series from Peacock, debut at Nos. 3 and 4 on Top TV Songs. Europe’s “The Final Countdown,” from the show’s fourth episode, lands at No. 3 (5.5 million streams, 2,000 downloads), followed by Queen and David Bowie’s “Under Pressure” at No. 4 (15.4 million streams, 2,000 downloads). Both episodes premiered June 8.
See the full top 10, also featuring music from Love Island (UK), The Bear and Cruel Summer, below.
Rank, Song, Artist, Show (Network)1. “Lovely Day,” Bill Withers, The Crowded Room (Apple TV+)2. “Anyone Who Knows What Love Is (Will Understand),” Irma Thomas, Black Mirror (Netflix)3. “The Final Countdown,” Europe, Based on a True Story (Peacock)4. “Under Pressure,” Queen & David Bowie, Based on a True Story (Peacock)5. “Bad Guy,” Billie Eilish, Love Island (ITV2)6. “Hold the Line,” Toto, Love Island (ITV2)7. “She Drives Me Crazy,” Fine Young Cannibals, The Bear (Hulu)8. “My Own Worst Enemy,” Lit, Cruel Summer (Freeform)9. “She’s So High,” Tal Bachmann, Cruel Summer (Freeform)10. “Stuck in the Middle With You,” Stealers Wheel, Love Island (ITV2)
Songs from Lil Uzi Vert’s new album Pink Tape take the top three spots on Billboard’s Hot Hard Rock Songs chart dated July 15, led by “Werewolf” featuring Bring Me the Horizon, which debuts at No. 1.
“Werewolf” earned 6.7 million official U.S. streams and sold 1,000 downloads June 30-July 6, according to Luminate.
Lil Uzi Vert leads Hot Hard Rock Songs for the first time in their second appearance on the list. They previously made the survey as featured on Bring Me the Horizon’s “AmEN!,” which debuted at No. 12 on the June 17 tally and ranks at No. 21 on the latest chart.
As for Bring Me the Horizon, the band now boasts four Hot Hard Rock Songs No. 1s, tying Falling in Reverse for the most dating to the chart’s 2020 inception. The Oli Sykes-fronted group first reigned with “Parasitve Eve,” followed by “Obey” (with Yungblud) and “Teardrops,” all in 2020.
In between the commands of “Teardrops” and “Werewolf,” Bring Me the Horizon rose as high as No. 3 with “LosT” in May 2023.
“Werewolf” is followed on Hot Hard Rock Songs by “CS,” a cover of System of a Down’s “Chop Suey!,” at No. 2, and “The End,” featuring BABYMETAL, at No. 3 (around 5 million streams each).
Lil Uzi Vert is the second act to occupy the top three of Hot Hard Rock Songs in a single week, following Van Halen, which took up Nos. 1-3 on the Oct. 17, 2020, tally following the death of guitarist Eddie Van Halen.
Concurrently, the three songs rank at Nos. 1, 2 and 3 on Hard Rock Streaming Songs in the same order. “Werewolf” also tops Alternative Streaming Songs, while “CS” and “The End” appear at Nos. 6 and 7, respectively.
The all-rock-genre Hot Rock & Alternative Songs ranking sees “Werewolf” start at No. 5, followed by “CS” at No. 8 and “The End” at No. 10.
Of the trio, “Werewolf” makes the all-format Billboard Hot 100, debuting at No. 81. It’s Bring Me the Horizon’s second time on the chart, following the No. 68-peaking “Maybe,” released with Machine Gun Kelly, in April 2022.
“Werewolf,” “CS” and “The End” are three rock-flavored songs from rapper Lil Uzi Vert’s wide-ranging Pink Tape, which concurrently debuts at No. 1 on the Billboard 200 with 167,000 equivalent album units earned, as previously reported.
Fall Out Boy reaches the Billboard Hot 100 as a lead act for the first time since 2016, as its update of Billy Joel’s “We Didn’t Start the Fire” debuts at No. 94 on the July 15-dated tally.
The reimagination bows with 4.7 million official U.S. streams, 767,000 radio audience impressions and 9,000 downloads in the June 30-July 6 tracking period, according to Luminate.
It’s Fall Out Boy’s first entry on the Hot 100 as a lead act since “Irresistible,” which spent its final week on the survey dated March 5, 2016, after peaking at No. 48 that January. Since then, the band made the list with one track: featured on Lil Peep and ILoveMakonnen’s “I’ve Been Waiting,” which reached No. 62 in April 2019.
Fall Out Boy now boasts 21 charted Hot 100 hits, dating to its first in 2005, paced by the No. 2-peaking “This Ain’t a Scene, It’s an Arms Race” in February 2007.
Concurrently, Fall Out Boy’s “We Didn’t Start the Fire” vaults 44-6 on Hot Rock & Alternative Songs in its second week on the chart after debuting via a partial week of streams, sales and airplay on the July 8 ranking (as the song was released June 28). It also debuts at Nos. 3 and 5 on the Hot Alternative Songs and Hot Rock Songs lists, respectively.
Its first full week of sales prompts the song to land its first week at No. 1 on Rock Digital Song Sales and Alternative Digital Song Sales as well. It’s the band’s first ruler on both since “Uma Thurman” in 2015.
The new song’s streaming count is also enough to score debuts at Nos. 11 and 20 on Alternative Streaming Songs and Rock Streaming Songs, respectively.
On the all-rock-format, audience-based Rock & Alternative Airplay chart, “We Didn’t Start the Fire” debuts at No. 43. The band’s current radio single, “Hold Me Like a Grudge,” concurrently appears at No. 46, while that song’s predecessor, “Love From the Other Side,” ranks at No. 3 in its 25th week on the survey.
Interest in the new version of “We DIdn’t Start the Fire” also spurs streams and sales gains for Joel’s 1989 original. The song, which topped the Hot 100 for two weeks in December 1989, enters Hot Rock & Alternative Songs, where older songs are eligible to appear if ranking in the top half and with a meaningful reason for their resurgences, at No. 21, thanks to 2.6 million streams, up 44%, and 1,000 downloads sold, a 104% vault.
Thanks to Fall Out Boy’s update, Joel earns his first Hot 100 writing credit since the Glee cast‘s cover of his 1983 hit “Uptown Girl” reached No. 68 in 2011. (Notably, Olivia Rodrigo, new atop the Hot 100 this week with “Vampire,” shouts out Joel and “Uptown Girl” in her No. 3 hit from 2021, “Deja Vu.”)
Fall Out Boy’s edition of the song alters Joel’s original lyrics to include names and events in the news since Joel’s 1989 original, referencing the likes of Y2K, Harry Potter, SpongeBob SquarePants, Stranger Things and Taylor Swift.
In an interview with BBC Radio2, Joel said that he has heard the new verses. “Everybody’s been wanting to know when there’s going to be an updated version of it, because my song started in ’49 and ended in ’89 — it was a 40-year span. Everybody said, ‘Well, aren’t you going to do a part two?’ I said, ‘Nah, I’ve already done part one.’ So, Fall Out Boy, go ahead. Great, take it away.”
Submit questions about Billboard charts, as well as general music musings, to askbb@billboard.com. Please include your first and last name, as well as your city, state and country, if outside the United States.
Or, tweet @gthot20.
Let’s open the latest mailbag.
Hot Fun in the ‘Summer’-time, and Other Times:
Hi Gary,
To add to the many times that the season called “summer” (and “verano” in Spanish) has appeared in the Billboard Hot 100’s top 10, Taylor Swift’s “Cruel Summer” happens to reach the tier during summertime (in the Northern Hemisphere).
It made me wonder: How often are songs with the word “summer” in their titles hits at that most fitting time of year?
Thanks,
Pablo NelsonSummering in Oakland, Calif.
Hi Pablo,
Fun question. (And per your mention of “verano,” Bad Bunny’s Un Verano Sin Ti topped the Billboard 200 albums chart during spring, summer and fall last year. A man for all seasons, he has charted the set in the top 20 each week since it debuted at No. 1 in May 2022.)
[embedded content]
Swift’s “Cruel Summer” was released in summer 2019 and is now a Hot 100 top 10 (and an officially promoted single) in summer 2023.
But a look at all the songs with “summer” in their titles that have hit the Hot 100’s top 10 reveals not such seasonal synchronization.
Here’s a rundown, first, of every Hot 100 top 10 with “summer” in its title that peaked outside of summer, from the first to the most recent:
Peak Date, Peak Position, Title, Artist
Sept. 29, 1958, No. 8, “Summertime Blues,” Eddie Cochran
Feb. 22, 1960, No. 1 (9 weeks), “The Theme From A Summer Place,” Percy Faith and His Orchestra
Oct. 17, 1964, No. 7, “A Summer Song,” Chad & Jeremy
Oct. 18, 1969, No. 2, “Hot Fun in the Summertime,” Sly & The Family Stone
Nov. 25, 1972, No. 6, “Summer Breeze,” Seals & Crofts
Sept. 25, 1976, No. 7, “Summer,” War
Sept. 30, 1978, No. 5, “Summer Nights,” John Travolta, Olivia Newton-John & Grease Cast
Nov. 19, 1983, No. 9, “Suddenly Last Summer,” The Motels
Sept. 29, 1984, No. 9, “Cruel Summer,” Bananarama
[embedded content]
Feb. 9, 1985, No. 5, “The Boys of Summer,” Don Henley
March 26, 1988, No. 2, “Endless Summer Nights,” Richard Marx
June 9, 2007, No. 6, “Summer Love,” Justin Timberlake
Feb. 20, 2016, No. 6, “Summer Sixteen,” Drake
That makes for 13 songs with “summer” in their names that have peaked in the Hot 100’s top 10 outside of summer.
Now, the Hot 100 top 10s with “summer” in their titles that have peaked in the region during summertime:
Peak Date, Peak Position, Title, Artist
June 29, 1963, No. 6, “Those Lazy-Hazy-Crazy Days of Summer,” Nat King Cole
Aug. 13, 1966, No. 1 (3 weeks), “Summer in the City,” The Lovin’ Spoonful
Aug. 27, 1966, No. 10, “Summertime,” Billy Stewart
Sept. 12, 1970, No. 3, “In the Summertime,” Mungo Jerry
Aug. 31, 1985, No. 5, “Summer of ‘69,” Bryan Adams
Aug. 3, 1991, No. 4, “Summertime,” D.J. Jazzy Jeff & The Fresh Prince
[embedded content]
Aug. 19, 1995, No. 3, “Boombastic”/”In the Summertime,” Shaggy
Aug. 22, 1998, No. 10, “Cruel Summer,” Ace of Base
Aug. 28, 1999, No. 3, “Summer Girls,” LFO
Sept. 21, 2013, No. 6, “Summertime Sadness,” Lana Del Rey vs. Cedric Gervais
July 19, 2014, No. 7, “Summer,” Calvin Harris
Aug. 29, 2020, No. 6, “7 Summers,” Morgan Wallen
July 15, 2023, No. 7 (to date), “Cruel Summer,” Taylor Swift
That amounts to … also 13! (The number is, of course, synonymous with Swift.)
So, perhaps surprisingly, songs with “summer” in their titles have peaked in the Hot 100’s top 10 during summer exactly half the time. Expanding the scope, and seemingly more expectedly, 17 of the 26 songs above have spent time in the top 10 during the summer.
That nine such songs peaked outside the Hot 100’s top 10 during cooler months also isn’t that shocking, considering that many sport lyrics reminiscing about summer, such as “Suddenly Last Summer,” “The Boys of Summer” and “Endless Summer Nights.”
[embedded content]
Meanwhile, Swift scores another Hot 100 record: She now has the highest charting hit called “Cruel Summer.” With its 13-7 jump, it surpasses the No. 9-peaking classic by Bananarama, as well as Ace of Base’s No. 10-peaking cover.
Olivia Rodrigo scores her third No. 1 on Billboard’s Streaming Songs chart thanks to “Vampire,” which debuts atop the July 15-dated tally.
“Vampire” bows with 35.5 million official U.S. streams in its first week, according to Luminate.
It follows similar No. 1 debuts by “Drivers License,” a four-week leader beginning in January 2021, and “Good 4 U,” which crowned the list for eight weeks starting in May 2021.
Between “Good 4 U” and “Vampire,” Rodrigo accumulated eight Streaming Songs appearances, all from 2021 debut album Sour. The top-ranking of those, “Traitor,” debuted and peaked at No. 3 on the June 5, 2021, ranking.
The 35.5 million stream count of “Vampire” is the largest for any song in the U.S. since Morgan Wallen’s “Last Night” earned 36.6 million toward the April 22 survey.
It’s the second-best first-week count for any song in 2023, behind only Miley Cyrus’ “Flowers,” which debuted with 52.6 million streams toward the Jan. 28 list.
Concurrently, as previously reported, “Vampire” debuts at No. 1 on the multimetric Billboard Hot 100, also her third No. 1 and third debut atop the chart, following “Drivers License” and “Good 4 U.” In addition to its streams, the song earned 26.3 million radio audience impressions and 26,000 sales.
It launches at No. 2 on Digital Song Sales and No. 22 on Radio Songs, and it bows at Nos. 17 and 22 on Pop Airplay and Adult Pop Airplay, respectively.
“Vampire” is the lead single from Guts, Rodrigo’s second studio album, due Sept. 8.
Rema and Selena Gomez’s “Calm Down” climbs to No. 1 on Billboard’s Adult Pop Airplay chart (dated May 13).
The song, released on Jonzing World/Mavin/SMG Music/Virgin/Interscope Records, marks Rema’s first leader on the list.
Gomez also rules Adult Pop Airplay for the first time, following five top 10s: “Lose You to Love Me” (No. 3, 2020); “Back to You” (No. 5, 2018); “It Ain’t Me” with Kygo (No. 6, 2017); as featured on Charlie Puth’s “We Don’t Talk Anymore” (No. 9, 2016); and “Same Old Love” (No. 7, 2016).
“Calm Down” concurrently claims a third week atop the all-format Radio Songs chart, with 92 million audience impressions, up 2%, June 30-July 6, according to Luminate. It likewise became Rema and Gomez’s first No. 1 each on the survey.
Plus, the song rebounds for a fourth week atop Pop Airplay, having become Rema’s first No. 1 and Gomez’s fourth; it now stands as Gomez’s longest-leading No. 1 of her four chart-topping titles, after “Good for You” featuring A$AP Rocky and “Same Old Love” each ruled for two weeks, while “Hands to Myself” spent a week at the summit. (The three songs led in 2015-16.)
“Calm Down” also topped the Rhythmic Airplay chart for four weeks in May-June. It’s the first song to have achieved enough crossover appeal to lead Pop Airplay, Adult Pop Airplay and Rhythmic Airplay since Lizzo’s “About Damn Time,” which dominated Pop Airplay for seven weeks, Adult Pop Airplay (two) and Rhythmic Airplay (one) last July-August. Before that, 24kGoldn’s “Mood” featuring Iann Dior paced all three charts in 2020-21, after Camila Cabello’s “Havana” featuring Young Thug tripled up in 2017-18.
[embedded content]
Rema, from Nigeria, released the original version of “Calm Down” in February 2022 as a single from his debut solo LP, Rave & Roses. Its remix with Gomez arrived last August, and that version’s official video premiered in September.
“Calm Down” has topped the Billboard U.S. Afrobeats Songs chart for 45 weeks running, the longest command since the ranking began just over a year ago, in partnership with music festival and global brand Afro Nation.
On the all-genre, multimetric Billboard Hot 100, “Calm Down” has hit No. 3, becoming Rema’s first entry and Gomez’s ninth top 10, and second-highest-charting, after “Lose You to Love Me” led for a week in November 2019.
Manuel Turizo rewrites his career-best debut on Billboard’s Latin Pop Airplay chart as “Copa Vacía,” his collaboration with Shakira, bows at No. 4 on the chart dated July 15, his first top 10 launch, among 12 top 10s. According to Luminate, “Copa Vacía” traces its start in the upper region on Latin Pop Airplay to […]
Yng Lvcas picks up his first No. 1 on Billboard’s Latin Airplay chart as “La Bebe,” with Peso Pluma, ascends 2-1 to lead the list dated July 15. The collab checks into the penthouse on the overall Latin chart in its fourth week at No. 1 on Latin Rhythm Airplay.
“La Bebe” takes over Latin Airplay with 10 million audience impressions, up 1% from the week prior, earned in the U.S. in the week ending July 6, according to Luminate.
The song replaces Grupo Frontera and Bad Bunny’s “X100to” from its six-week domination, dipping 2-1 with a 14% decline in impressions, to 9.3 million.
“La Bebe” grants Lvcas his first Latin Airplay champ, who joins four other acts who have also taken over the tally in 2023 with their first leaders: Fuerza Regida and Grupo Frontera through “Bebe Dame” (one week, March 25), Marshmello with the Manuel Turizo-assisted “El Merengue” (one week, June 10), and his contemporary Peso Pluma, as “Ella Baila Sola,” with Eslabon Armado, placed the Mexican at the lead for one week (June 17). Thus, the latter collects his second ruler.
Further, “La Bebe” is the only collaborative charting effort by Lvcas on any Billboard chart. He captured his maiden entry on any Billboard tally when the original version of the song, sans Pluma, debuted on the Billboard Global Excl. U.S. chart at No. 152, reaching a No. 2 high in April, after the remix with Pluma dropped.
Since then, the successful partnership has experienced a rewarding performance across charts. Here’s the recap:
Peak Position, Chart, Peak Date
No. 2, Latin Streaming Songs, April 8No. 2, Hot Latin Songs, April 15No. 1, Latin Digital Song Sales, April 15No. 2, Global Excl. U.S, April 22No. 5, Streaming Songs, April 29No. 2, Global 22, June 10No. 1, Latin Rhythm Airplay, June 24 (four weeks atop)No. 1, Latin Airplay, July 15
Beyond its Latin Airplay coronation, “La Bebe” holds steady at its No. 2 high for a seventh week on the multi-metric Hot Latin Songs chart, despite a 5% decline in streaming activity: it logged 13.2 million clicks in the U.S. during the same period. Plus, it also sees a fall in sales: 12% from the previous week to 1,000 downloads.
Jelly Roll’s “Need a Favor” spends its first week at No. 1 on Billboard’s Hot Rock & Alternative Songs and Hot Rock Songs charts, rising 2-1 on both July 15-dated tallies. The track earned 32.4 million airplay audience impressions and 11.5 million official U.S. streams and sold 5,000 downloads June 30-July 6, according to Luminate. […]
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 July 22), Taylor Swift once again leaves the rest of the pop world in the dust with perhaps her best-performing Taylor’s Version full-album recreation yet.
Taylor Swift, Speak Now (Taylor’s Version) (Republic): When it was released in 2010 as her third album, Speak Now became Taylor Swift’s first set to sell over a million copies in its first week. Her Taylor’s Version re-recording of the fan-favorite album might not post a seven-digit debut, but it’s already come closer than any other album in 2023. Billboard reported on Tuesday (July 11) that this Speak Now had passed 575,000 equivalent album units in just its first four days — already blowing past the 501,000 moved by previous mark-setter, Morgan Wallen’s One Thing at a Time, in its first frame.
Those would be incredible numbers for any new release in 2023, let alone one where 16 of the 22 tracks included are near-soundalike re-dos of 13-year-old songs. Making the 400,000 in direct sales that the album has already accrued even more impressive is that the album is only available in a handful of physical editions – three vinyl variants (including an exclusive color for Target), a CD, a cassette, and a digital release – compared to many 2020s best-sellers (including Swift’s own 2022 blockbuster Midnights), which are released in dozens of physical editions to maximize fan purchases.
Speak Now (Taylor’s Version) has already put Swift’s peers in its rearview, but how will it compare to her own recently set standards? It’s unlikely to get close to the first-week numbers of Midnights, which scored an unthinkable-for-2022 1.578 million units. But it has a very good chance of passing 2021’s Red (Taylor’s Version), which debuted with 605,000 units, to become the biggest first week for any of her three re-recordings to date.
To pass Red (Taylor’s Version) would also be pretty staggering for this Speak Now, considering it has fewer tracks (22 to Red (TV)’s 30) and lacks a song driving as much pre-release excitement as that set’s “All Too Well (10-Minute Version),” which debuted at No. 1 on the Billboard Hot 100 the same week the new Red topped the Billboard 200. (“I Can See You,” one of the set’s six first-time recordings, did receive a music video co-starring Speak Now-era Taylorverse fixtures Joey King, Taylor Lautner and Presley Cash, and looks to be due for a major Hot 100 debut next week.)
In the Mix
Lucki, S*x M*ney Dr*gs (EMPIRE): One of the most acclaimed rappers from the current rising wave of Chicago MCs, Lucki reached a career-best No. 12 on the Billboard 200 with 2012’s Flawless Like Me set. He may do even better with this month’s S*x M*ney Dr*gs mixtape, which only features one guest (fellow cult favorite Veeze) on its 15 tracks, but is already posting career-best streaming numbers that most rappers would be, well, lucky to have in 2023.
Dominic Fike, Sunburn (Columbia): If you listened to Spotify’s New Music Friday playlist last week, you might have noticed that the lead track was not from Taylor Swift’s latest, but rather from the long-awaited second album for singer-songwriter Dominic Fike. Columbia executives still have big hopes for Fike, who greatly increased his profile last year with a big role on HBO phenomenon Euphoria, and he may have something of a breakout hit with the album’s “Mona Lisa” — written for and briefly included on the deluxe edition of Metro Boomin’s Spider-Man: Across the Spider-Verse soundtrack — which climbs to No. 36 on Billboard’s Pop Airplay chart this week.
Lana Del Rey, Did You Know That There’s a Tunnel Under Ocean Blvd (Polydor/Interscope): Lana Del Rey’s ninth album debuted at No. 3 on the Billboard 200 in April — and while it’s remained on the chart for the past 15 weeks, it’s dropped all the way to No. 184. It should rebound significantly next week, though. thanks to a recent vinyl reissue with a cover featuring a partially nude photo of Del Rey. (She had previously considered the image for the album’s original cover, before deciding to “let the songs do the talking for now.”)