Chart Beat
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LIT Killah, Tiago Pzk, Maria Becerra, Duki, Emilia, Rusherking, Big One and Fmk join forces for a No. 1 debut on the Billboard Argentina Hot 100 with “Los del Espacio.” All eight artists have previously hit No. 1, this being the fifth chart-topper for Becerra, Duki and Tiago Pzk. The track sends BM’s “M. A. […]
Tim Bowman Jr., Faith City Music and Le’Andria Johnson’s “Jesus!” ascends to No. 1 on Billboard’s Gospel Airplay chart (dated June 17). In the June 2-8 tracking week, the single increased by 13% in plays, according to Luminate. “Jesus!” was co-authored by Bowman Jr., Johnson, Gerald Haddon and Tammi Haddon. Bowman Jr. co-produced it with […]
Tracy Chapman rises from No. 3 to No. 1 on Billboard’s Country Songwriters chart (dated June 17), leading for the first time, thanks to Luke Combs’ cover of her classic hit “Fast Car.”
Combs’ version of the song, on which Chapman is the sole credited writer, holds at its No. 2 high on the Hot Country Songs chart and jumps 8-4 on the Billboard Hot 100 – out-peaking Chapman’s original recording, which reached No. 6 on the Hot 100 in 1988.
Combs’ cover hits new heights with 34.2 million radio airplay audience impressions (up 30%), as it surges at country, pop and adult formats; 20.2 million U.S. streams (up 1%); and 9,000 downloads sold (up 4%) June 2-8, according to Luminate.
Chapman has tallied five entries on the Hot 100 as a billed recording artist: “Fast Car” (No. 6 peak in 1988), “Talkin’ Bout a Revolution” (No. 75, 1988), “Baby Can I Hold You” (No. 48, 1988), “Crossroads” (No. 90, 1989) and “Give Me One Reason” (No. 3, 1996).
Combs’ “Fast Car” is the third version of Chapman’s breakthrough song to chart on the Hot 100. It follows Chapman’s original and Jonas Blue’s dance cover, featuring Dakota (No. 98 peak, 2016).
Notably, as Chapman crowns Country Songwriters, she earns her first No. 1 placement on a Billboard chart since 2000, when her single “Telling Stories (There Is Fiction in the Space Between)” topped the Adult Alternative Airplay chart for eight weeks. Before that, she ruled the Billboard 200 with her debut self-titled album in August 1988, as well as Adult Pop Airplay for eight weeks in 1996 with “Give Me One Reason.”
Chapman’s eponymous debut album marked her first chart appearance when it entered the Billboard 200 chart dated April 30, 1988. “Fast Car” followed on Adult Contemporary and Mainstream Rock Airplay that May, and then the Hot 100 that June. She has won four Grammy Awards, including best female pop vocal performance for “Fast Car” and best rock song for “Give Me One Reason.”
Billboard launched the Hot 100 Songwriters and Hot 100 Producers charts, as well as genre-specific rankings for country, rock & alternative, R&B/hip-hop, R&B, rap, Latin, Christian, gospel and dance/electronic, in June 2019, while alternative and hard rock joined in 2020, along with seasonal holiday rankings in 2022. The charts are based on total points accrued by a songwriter and producer, respectively, for each attributed song that appears on the Hot 100. The genre-based songwriter and producer charts follow the same methodology based on corresponding “Hot”-named genre charts. As with Billboard’s yearly recaps, multiple writers or producers split points for each song equally (and the dividing of points will lead to occasional ties on rankings).
The full Hot 100 Songwriters and Hot 100 Producers charts and genre-specific rankings can be found on Billboard.com.
Billboard has more than 200 different weekly charts in its menu, encompassing numerous genres and formats.
While established artists often compete for a spot on the Billboard Hot 100 songs chart and Billboard 200 albums ranking, which track the most popular songs and albums of the week, respectively, up-and-coming talents typically start off on genre-specific lists.
Here’s a look at 10 titles by acts who appear on surveys for the first time on the June 17-dated charts.
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Sky Rompiendo
Sky Rompiendo has been one of the most in-demand Latin music producers of the past decade, but he notches his first career chart entry under an artist billing, thanks to “El Cielo” with Feid and Myke Towers. The track, released June 2 via Black Koi/Sony Music Latin, debuts at No. 34 on Hot Latin Songs with 3.1 million official streams in the United States in its opening week (June 2-8), according to Luminate. It also starts at No. 12 on Latin Digital Song Sales, No. 14 on Latin Streaming Songs, No. 77 on the Billboard Global Excl. U.S. chart and No. 104 on the Billboard Global 200.
Sky Rompiendo (real name Alejandro Ramírez Suárez) has produced 65 Hot Latin Songs-charting tracks in his career, including 16 top 10s, and three No. 1s, all recorded by J Balvin: “Ay Vamos” (for one week in 2015; it also won for best urban song at the 2015 Latin Grammy Awards), “Ginza” (22 weeks, 2015) and “Bobo” (one week, 2016). He has also produced six Hot 100 hits, most recently Ozuna’s “Hey Mor,” featuring Feid, this year (No. 85 peak). On Billboard’s year-end Hot Latin Songs Producers recaps, he finished at No. 5 in both 2020 and 2021. He was also nominated for producer of the year at the Billboard Latin Music Awards in 2015, 2017 and 2021.
Bethany Cosentino
The singer-songwriter and Best Coast member scores her first solo hit on Billboard’s charts thanks to her single “It’s Fine.” The track, released May 3 through Concord Records, debuts at No. 32 on Adult Alternative Airplay (up 37% in plays). Best Coast announced that it was going on an indefinite hiatus earlier this year. The duo (comprising Cosentino and Bobb Bruno) has charted four studio albums on the Billboard 200: Crazy for You (No. 36 peak in 2010), The Only Place (No. 24, 2012), EP Fade Away (No. 112, 2013) and California Nights (No. 53; 2015). The pair has also charted one song on Adult Alternative Airplay: “Everything Has Changed” (No. 18, 2020). “It’s Fine” is the lead single off Cosentino’s debut solo project, Natural Disaster, due July 28.
Roisee, Toian & EI8HT
All three artists earn their first Billboard chart entries, thanks to tracks on Metro Boomin’s soundtrack to Spider-Man: Across the Spider-Verse, released June 2 via Republic Records. Roisee, from St. Louis, arrives with “Am I Dreaming” with Metro Boomin and A$AP Rocky. The song debuts at No. 51 on the Hot 100, No. 11 on Hot Rap Songs and No. 17 on Hot R&B/Hip-Hop Songs, plus No. 32 on both Streaming Songs and Digital Song Sales, with 9.3 million streams and 2,000 sold.
Toian, from Montego Bay, Jamaica, arrives thanks to a featured credit on Metro Boomin, Don Toliver and Wizkid’s “Link Up,” also featuring BEAM. The track debuts at No. 167 on the Global 200 and No. 4 on the Hot 100’s Bubbling Under ranking, with 4.6 million U.S. streams. EI8HT enters with her Offset collaboration, “Silk and Cologne.” The track debuts at No. 18 on Bubbling Under with 4 million streams. The soundtrack earned 66,000 equivalent album units in its opening week, as it bows at No. 1 on the Soundtracks chart, No. 2 on Top Rap Albums and Top R&B/Hip-Hop Albums and No. 7 on the Billboard 200.
Bludnymph
The singer-songwriter scores her first Billboard chart hit thanks to her collaboration with the Chainsmokers, “Self Destruction Mode.” The song, released June 2 via Secondhand Happiness/Disruptor/Columbia Records, debuts at No. 16 on Hot Dance/Electronic Songs with 1.3 million streams. Last year, she recorded a song for Fast & Furious: Drift Tape (Phonk Vol. 1), “Press It.” On May 10, she released her first EP, the five-track Popsicle, through Artist Partner Group Inc.
Austin Brown
The singer-songwriter and native of Tiftin, Ga., notches his first solo hit on Billboard’s charts with his new single “Hers Ain’t Mine.” The track, which he self-released May 15, debuts at No. 20 on Country Digital Song Sales and No. 50 on the all-genre Digital Song Sales chart with 2,000 downloads sold. Brown is also a member of a cappella group Home Free, which got its start in 2013 when it participated – and won – the fourth season of NBC’s The Sing-Off. The quintet has charted three tracks on Hot Country Songs: “Angels We Have Heard on High” (No. 30, 2014), “How Great Thou Art” (No. 42, 2016) and “God Bless the USA” (No. 47, 2016). The act has also landed nine titles on Top Country Albums, including five top 10s. Before joining Home Free, Brown (lead tenor in the group), was a singer on Royal Caribbean cruise ships.
Lauren Ash
The actress/comedian/singer achieves her first Billboard chart entry with her debut single “Now I Know.” The song, which she self-released June 2, debuts at No. 5 on Alternative Digital Song Sales and No. 14 on Rock Digital Song Sales with 1,000 downloads sold. Ash, from Belleville, Ontario, starred in NBC’s Superstore in 2015-21. She has also acted in the series Chicago Party Aunt, Kiff, Not Dead Yet and She-Ra and the Princesses of Power, among others. She additionally co-hosts the podcast True Crime and Cocktails.
Christian Keyes
The singer-songwriter and actor arrives on Billboard’s charts for the first time with his single “Under That Veil.” The track, released April 7 via Umbrella Entertainment, debuts at No. 29 on Adult R&B Airplay (up 57% in plays). The Detroit native has starred in multiple TV shows, including All the Queen’s Men, The Boys, Saints & Sinners, Supernatural and The Young and the Restless.
Riar Saab & Abhijay Sharma
Punjabi artists Riar Saab (real name Tarun Singh Surjeet Singh Riyar) and Abhijay Sharma each claim a first career Billboard chart placement, thanks to their viral hip-hop collaboration “Obsessed.” The song, released in September through Gully Gang/Mass Appeal India, debuts at No. 116 on the Global Excl. U.S. chart (20.6 million streams outside the U.S. June 2-8). TikTok has been instrumental in the song’s growing profile, as a portion of the track has been used in over 55,000 clips on the platform. Also helping boost the track, which is a blend of Hindi and Punjabi, is a series of viral videos of Bollywood actor Vicky Kaushal dancing to the song.
Aldo Ranks
The Panamanian reggaeton artist makes his first Billboard chart visit, thanks to his featured credit on Karol G’s “WATATI.” The song, released June 1 via WaterTower/Atlantic Records, debuts at No. 6 on Latin Rhythm Digital Song Sales and No. 15 on Latin Digital Song Sales. It’s the second release from Barbie: The Album – due July 21, along with the film – after Dua Lipa’s “Dance the Night” (released May 26). Aldo Ranks has been releasing music for over two decades, including four albums: Diferente (2003), La Conquista (2007), Parrandero (2013) and DJ Pablito Presenta: Aldo Rank el CD (2018).
Axel Rulay
The Dominican singer scores his first chart hit with “Una Nube.” The track, released May 2022 through Money Records, begins at No. 7 on Latin Rhythm Digital Song Sales and No. 19 on Latin Digital Song Sales. Prior to “Una Nube,” Rulay collaborated with El Alfa, Farruko and Verbo Flow on “Si Es Trucho Es Trucho” in 2021.
After being heard in the final season of Amazon Prime Video’s The Marvelous Mrs. Maisel, Norman Greenbaum’s “Spirit in the Sky” rules Billboard’s Top TV Songs chart, powered by Tunefind, for May 2023.
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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 May 2023.
“Spirit in the Sky” appeared in the sixth episode of The Marvelous Mrs. Maisel’s fifth and final season; the episode aired May 5.
In May 2023, the song earned 9.5 million on-demand official U.S. streams and 9,000 downloads, according to Luminate.
Originally released in 1969, “Spirit in the Sky” is Greenbaum’s sole top 40 on the Billboard Hot 100, reaching No. 3 in April 1970.
It’s one of two songs from The Marvelous Mrs. Maisel to appear on the May 2023 Top TV Songs survey. Carly Simon’s “You’re So Vain” joins at No. 9 after its synch in the season’s seventh episode (May 12), accumulating 7.1 million streams and 1,000 downloads that month.
The top non-The Marvelous Mrs. Maisel entry, meanwhile, belongs to the newly debuted Netflix series XO, Kitty, thanks to Tears for Fears’ “Everybody Wants to Rule the World,” which enters at No. 2.
“Everybody Wants to Rule the World” was heard in the new show’s (a spinoff to the To All the Boys film series) third episode, premiered alongside the rest of the freshman season on May 18. It earned 24.8 million streams and 3,000 downloads in May 2023.
Music heard in The Company You Keep, Yellowjackets, The Power, Selling Sunset and Will Trent also make the latest survey. See the full top 10 below.
Rank, Song, Artist, Show (Network)
“Spirit in the Sky,” Norman Greenbaum, The Marvelous Mrs. Maisel (Amazon Prime Video)
“Everybody Wants to Rule the World,” Tears for Fears, XO, Kitty (Netflix)
“Can’t You See,” The Marshall Tucker Band, The Company You Keep (ABC)
“Zombie,” The Cranberries, Yellowjackets (Showtime)
“Lightning Crashes,” Live, Yellowjackets (Showtime)
“Just a Girl,” No Doubt, The Power (Amazon Prime Video)
“Something in the Way,” Yellowjackets (Showtime)
“Far Beyond,” Dexter French, Darius Behdad & Huxley Ware, Selling Sunset (Netflix)
“You’re So Vain,” Carly Simon, The Marvelous Mrs. Maisel (Amazon Prime Video)
“Show Me Love,” Robin S, Will Trent (ABC)
Welcome to Billboard Pro’s Trending Up column, 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: The Spider-Verse stretches its way across streaming, a tri-state indie rock band launches an unlikely dance challenge and an alt-folk singer-songwriter enjoys his first real crossover success.
Miles Morales Spurs a Spider-Verse Takeover
It’s been just over a week since the release of Spider-Man: Across the Spider-Verse, and Miles Morales and co. are already having a sizable musical impact that nicely complements the film’s box office success. Serving as the sequel to 2018’s Oscar-winning Spider-Man: Into the Spider-Verse, the new film continues Miles’ journey, and boasts a star-studded soundtrack curated and produced by Billboard 200-topping hip-hop producer Metro Boomin.
According to Luminate, the genre-spanning soundtrack (released on Boominati/Republic) garnered 83.6 million official on-demand U.S. streams during the week of June 2-8. In the same period, two songs emerged as the set’s strongest and most consistent performers. “Calling” (which is credited to Metro Boomin, Swae Lee & NAV feat. A Boogie wit da Hoodie) collected 10.7 million official on-demand U.S. streams, while “Annihilate” (credited to Metro Boomin, Swae Lee, Lil Wayne & Offset) garnered 10.6 million official on-demand U.S. streams. Both songs have been hanging around the upper regions of Spotify and Apple Music’s daily charts off the strength of their placement in the film, the allure of the performing artists, and, of course, the music itself.
In a slight contrast to the success of these Spider-Verse posse cuts, Coi Leray’s solo Spider-Man track alongside Metro, “Self-Love,” has also emerged as one of the soundtrack’s biggest songs — and one that’s still growing. On June 2, the song earned over 920,000 official on-demand U.S. streams, and one week later (June 9), that tally increased by 35.8% to a total of 1.2 million official on-demand U.S. streams. Although that number dipped slightly to 1.16 million the following day, consistent love across social media looks to buoy the song as it continues its run.
Of course, in 2018, the previous Spider-Verse soundtrack (for Spider-Man: Inside the Spider-Verse) spawned “Sunflower,” the inescapable Post Malone and Swae Lee duet that recently became the highest-certified single in the United States. The RIAA certified the song 18x platinum in recognition of over 18 million units sold. Since the release of Across the Spider-Verse, the already-stable streaming numbers for “Sunflower” have experienced a significant increase: During the week of June 2-8, the Billboard Hot 100-topping track received 8.9 million official on-demand U.S. streams, a 29.6% increase from its May 26-June 1 tally (6.9 million).
On the Billboard 200 chart dated June 17, the Across the Spider-Verse soundtrack entered at No. 7, becoming Metro Boomin’s fourth consecutive top ten title. He previously topped the chart with 2018’s Not All Heroes Wear Capes, 2020’s Savage Mode II (with 21 Savage), and last year’s Heroes & Villains. – KYLE DENIS
Noah’s Arc: Kahan Climbs Toward Mainstream Stardom With “Dial Drunk” & Expanded Album
Over the past year, Noah Kahan’s brand of heartfelt folk-rock has amassed a sizable fan base thanks to both old-school road grinding and next-gen social media engagement. After the Vermont native teased “Stick Season,” a post-breakup song rife with COVID-era loneliness, to his fan base for months ahead of its July 2022 release, the song took off on TikTok as the singer-songwriter plowed through tour dates, eventually leading to a No. 14 debut for his Stick Season album on the Billboard 200 last October.
Kahan hasn’t slowed down since – a North American tour that began last month will continue through October – and a recently released deluxe edition of his Stick Season album, combined with an already-viral new single, may speed up his ascent to household-name status.
Last Friday (June 9), Kahan released Stick Season (We’ll All Be Here Forever) via Mercury/Republic, which featured seven additional songs and sent his streams soaring. Kahan’s catalog rose over 300% in daily U.S. on-demand streams upon the release of the expanded album – from 3.11 million last Thursday to 12.83 million on Friday, according to Luminate – and hovered around 9 million daily streams through Monday, suggesting that far more than Kahan’s diehard supporters are playing his new tunes.
Those songs are highlighted by “Dial Drunk,” a banjo-led story of an intoxicated man reaching out to an estranged contact as his emergency call from jail. Like “Stick Season,” “Dial Drunk” had been teased on TikTok by Kahan for a prolonged period – but now that the singer-songwriter boasts a larger fan base than last summer, the new track may mark his Hot 100 debut next week. “Dial Drunk” bowed with 1.81 million streams on Friday, then garnered seven-figure plays each day through Monday, while remaining fixtures of the Spotify Daily Top Songs USA and Apple Music charts.
The success of “Dial Drunk,” along with Stick Season (We’ll All Be Here Forever) potentially pushing into the top 10 of next week’s Billboard 200, would continue an already huge year for Kahan, who recently sold out New York’s Radio City Music Hall and led a substantial crowd at the Boston Calling festival. The crowds have exploded, and now may be the time for Kahan’s commercial breakthrough. – JASON LIPSHUTZ
Indie Fans ‘Need 2’ Participate in “Pinegrove Shuffle”
The New Jersey indie-rockers of Pinegrove might not technically be the least-likely artist to ever benefit from a viral dance challenge, but they’re certainly much closer to the bottom than the top of that list. Nonetheless, that’s what’s been happening since last Friday, when a video from TikToker @garrettlee39 dancing to their 2014 Mixtape Two highlight “Need 2” — maybe more full-body thrusting than dancing, along with some arm-flailing — went viral over social media, leading to countless other users trying to recreate what’s since been dubbed the “Pinegrove Shuffle.”
Interest in the original song has now also shuffled over to streaming services. “Need 2” had already been swelling in official on-demand U.S. streams for the couple weeks prior — the self-released track was up from 220,000 for the chart week ending May 18 to 567,000 for the week ending June 8, according to Luminate — but those numbers have really spiked since the @garretlee39 video (which currently has 4.6 million views), raising from 99,000 daily streams on June 8 (the day before the video) to over 427,000 on June 11, a gain of 333%, according to Luminate.
If those numbers keep spiking, it might give the cult band the first true breakout hit of its decade-long career — just after it entered an informal hiatus period earlier this year, following the departure of drummer Zack Levine. – ANDREW UNTERBERGER
YOASOBI‘s “Idol” logs its ninth consecutive week atop the Billboard Japan Hot 100, released June 14, dominating four metrics of the chart’s methodology for the third straight week.
Nine consecutive weeks at No. 1 breaks the record previously held by Official HIGE DANdism’s “Subtitle” (eight straight weeks), and the song is now tied with Aimer’s “Zankyosanka” in terms of total weeks at No. 1. “Subtitle” is currently the record-holder for most weeks at No. 1 (13 weeks), and “Idol” still maintains the momentum to catch up with the long-running hit from late last year.
The Oshi no Ko opener holds at No. 1 on the Japan Hot 100 powered by streaming, downloads, video views, and karaoke, where it rules for the third week in a row. Total points for the track is almost triple that of the song at No. 2, MAN WITH A MISSION x milet’s “Kizuna no Kiseki.” The track also sailed past 200 million streams on its ninth week on the chart, breaking the previous record held by “Subtitle” (11 weeks) for number of weeks it took to hit the milestone. It looks like the track’s unprecedented record-breaking streak is likely to continue.
Johnny’s WEST’s “Shiawase no Hana” debuts at No. 2 on the Japan Hot 100, selling 220,040 copies in its first week to rule sales. The theme of the TV series Gekikaradou 2 starring member Akito Kiriyama also hit No. 22 for radio airplay.
BTS’s “Take Two” — the digital single released June 9 to commemorate the 10th anniversary of the septet’s debut — bowed at No. 6 on the Japan Hot 100 after coming in at No. 2 for downloads and No. 61 for streaming. A video of the seven members singing, including Jin and J-Hope who are currently serving in the South Korean military, was also released on Tuesday (June 13), and the track is expected to move further up the charts in the future.
Stray Kids’ “S-Class” from the group’s new album 5-STAR rises 39-8 after jumping to No. 7 for streaming. The album is at No. 4 on Billboard Japan’s download albums chart, and also hit No. 1 on the Billboard 200. Aimyon’s “Ai no Hana” (“Flower of Love”) also moves 32-9 on the Japan Hot 100 after the CD hit No. 6 for sales.
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 June 5 to 11, here. For more on Japanese music and charts, visit Billboard Japan’s English Twitter account.
Madonna joins exclusive company in having hit the Billboard Hot 100 chart in five distinct decades, as “Popular,” with The Weeknd and Playboi Carti, debuts on the June 17-dated list.
With the entrance, Madonna has debuted songs on the Hot 100 in the 1980s, ‘90s, 2000s, ’10s and now ‘20s.
Among women, Madonna joins Cher as the only women to have debuted titles on the Hot 100 in five separate decades, with Cher’s history on the chart spanning the ‘60s through the ‘00s.
(Brenda Lee is the only other woman to have appeared on the Hot 100 in five distinct decades; she debuted songs in the ‘50s, ‘60s and ‘70s, while her chestnut “Rockin’ Around the Christmas Tree” has re-entered annually in the ‘10s and ‘20s.)
“Popular” debuts on the Hot 100 at No. 43 with 10.1 million official streams, 2 million airplay audience impressions and 4,000 sold in the United States in its first week (June 2-8), according to Luminate.
The song, released June 2 on HBO/XO/Republic Records, is from the new HBO drama The Idol, which premiered June 4 and stars The Weeknd, Lily-Rose Depp and Dan Levy, among others.
“Madonna … Madge. She’s the ultimate co-sign for this song, for this album and for this TV show,” The Weeknd beamed to Apple Music 1’s Zane Lowe on June 2.
Here’s a look at the elite artists that have appeared on the Hot 100 in five or more decades. Three stars have done so in six decades: Michael Jackson, Paul McCartney and Elvis Presley, with all three having extended their runs to a sixth decade each in the ‘20s thanks to seasonal re-entries. (Acts below designated with an asterisk likewise expanded their chart histories to a fifth decade each also via seasonal songs’ or other revived titles’ re-entries).
Acts With Hot 100 Hits in Six Decades:
Michael Jackson (1970s-2020s)
Paul McCartney (‘70s-‘20s)
Elvis Presley (‘50s-‘80s; ‘00s, ‘20s)
Acts With Hot 100 Hits in Five Decades:
Madonna (‘80s-‘20s)
Ozzy Osbourne (‘80s-‘20s)
*Eagles (‘70s-‘00s; ‘20s)
*Fleetwood Mac (‘70s-‘00s; ‘20s)
Elton John (‘70s-‘00s; ‘20s)
*Chuck Berry (‘50-‘70s; ‘10s-‘20s)
*Perry Como (‘50-‘70s; ‘10s-‘20s)
*Brenda Lee (‘50-‘70s; ‘10s-‘20s)
*Andy Williams (‘50-‘70s; ‘10s-‘20s)
*Prince (‘70s-‘10s)
Cher (‘60s-‘00s)
The Rolling Stones (‘60s-‘00s)
Santana (‘60s-‘00s)
Stevie Wonder (‘60s-‘00s)
Ray Charles (‘50s-‘90s)
Smokey Robinson (‘50s-‘90s)
Thus, the only acts each to debut titles on the Hot 100 in five separate decades are Ray Charles, Cher, Michael Jackson, Elton John, Madonna, Paul McCartney, Ozzy Osbourne, Elvis Presley, Smokey Robinson, the Rolling Stones, Santana and Stevie Wonder.
Notably, Jackson and McCartney have been visitors to the Hot 100 in seven distinct decades each, additionally considering their runs in groups in the ‘60s: Jackson, thanks to the Jackson 5, and McCartney, via the Beatles.
The Queen of Pop adds her 58th Hot 100 hit, the seventh-most among women since the chart began with the survey dated Aug. 4, 1958. (It was a historic month for music; along with the Hot 100’s bow, Madonna was born Aug. 16, 1958, and Jackson, Aug. 29.) Taylor Swift leads all women with 190 Hot 100 entries, followed by Nicki Minaj (129), Beyoncé (81), Aretha Franklin, Ariana Grande (73 each) and Rihanna (63). (Madonna breaks out of a tie with Miley Cyrus, who has logged 57 appearances.)
Madonna boasts her highest Hot 100 rank since 2012, when “Give Me All Your Luvin’,” featuring Minaj and M.I.A., hit No. 10, becoming her then-record 38th top 10. (Drake and Swift now have the only higher top 10 totals: 68 and 40, respectively.)
Concurrently, “Popular” debuts at No. 6 on Billboard’s Hot R&B Songs chart, marking Madonna’s first appearance since the survey originated in 2012. On Hot R&B/Hip-Hop Songs, it opens at No. 16, becoming her first entry since 1995. She claims her second-highest-charting Hot R&B/Hip-Hop Songs hit, after only “Like a Virgin” (No. 9, 1985). She has also reached the Hot R&B/Hip-Hop Songs top 20 with “Vogue” (No. 16, 1990) and “Like a Prayer” (No. 20, 1989).
Meanwhile, Madonna has released new songs in consecutive weeks. Following the June 2 arrival of “Popular,” her team-up with Sam Smith, “Vulgar,” was released June 9. The tracks follow Madonna’s March 20 tease that she was working on new music with fellow pop titan Max Martin.
Jelly Roll’s Whitsitt Chapel blasts onto Billboard’s Top Rock & Alternative Albums chart (dated June 17) at No. 1 and the Top Country Albums tally at No. 2. Released June 2, the set earned 90,000 equivalent album units in the United States, with 63,000 in album sales, in the week ending June 8, according to Luminate.
Whitsitt Chapel also arrives at No. 3 on the all-genre Billboard 200, giving the Nashville-born artist, named Jason Bradley DeFord, his first top 10 on the ranking.
Thanks to his first country album, Jelly Roll earns the largest week for an initial entry on Top Country Albums since the chart transitioned to a consumption-based methodology (from one based on pure sales) in February 2017. It surpasses The Highwomen, whose lone Top Country Albums entry (a self-titled set) started at No. 1 in September 2019 with 34,000 units. (The group comprises Brandi Carlile, Natalie Hemby, Maren Morris and Amanda Shires.) The previous best first week on the chart for a solo male belonged to Bailey Zimmerman’s Leave the Light On (32,000 units, October 2022).
Whitsitt Chapel becomes Jelly Roll’s first No. 1 on Top Rock & Alternative Albums in his second appearance on the tally. Previously, Ballads of the Broken peaked at No. 35 in September 2022.
Notably, the new set follows multiple albums in reaching the top two of both Top Rock & Alternative Albums and Top Country Albums. Those have included, this decade: HARDY’s The Mockingbird & the Crow (No. 1 on both charts, this February), Zach Bryan’s American Heartbreak (No. 1 on both, June 2022), and Jason Isbell and the 400 Unit’s Reunions (No. 1 on both, May 2020).
Whitsitt Chapel’s album sales were helped by three vinyl LPs (including a color-variant exclusive for Walmart), a standard CD, a signed CD sold through Jelly Roll’s webstore, a deeply discounted digital album (only $4.20 for a limited time during the tracking week in his webstore), nine deluxe CD boxed sets that included branded merch and a copy of the CD, and a “hymnal” zine/CD package.
The album sports 13 tracks, including collaborations with Brantley Gilbert, Struggle Jennings, Lainey Wilson and Yelawolf.
Meanwhile, the LP’s lead single, “Need a Favor,” holds at its No. 2 high on Hot Rock & Alternative Songs and pushes 7-4 on Hot Country Songs, with 20.2 million in airplay audience, 11.2 million official streams and 3,000 sold. The track keeps at its No. 3 high on Mainstream Rock Airplay and ascends 14-12 on Country Airplay. On the former, Jelly Roll reigned for a week in May 2022 with “Dead Man Walking.” On the latter list, he led for a week in January with “Son of a Sinner.”
Foo Fighters earn multiple No. 1 placements on the Billboard charts dated June 17 as their new set But Here We Are crowns Top Alternative Albums and Top Hard Rock Albums, while the LP’s lead single “Rescued” commands Hot Hard Rock Songs.
But Here We Are bows with 62,000 equivalent album units earned in the United States in the June 2-8 tracking week, according to Luminate. Of that sum, 55,000 units are via album sales.
The release is Foo Fighters’ seventh No. 1 on Top Hard Rock Albums since the chart began in 2007. The band first ruled with Echoes, Silence, Patience & Grace in October 2007 and had most recently led with Medicine at Midnight in February 2021.
The Dave Grohl-fronted band slots into a four-way tie for the most leaders in the tally’s history, alongside Five Finger Death Punch, Linkin Park and Pearl Jam.
Most No. 1s, Top Hard Rock Albums:7, Five Finger Death Punch7, Foo Fighters7, Linkin Park7, Pearl Jam6, Disturbed6, Korn
Foo Fighters also boast six Top Alternative Albums rulers with the addition of But Here We Are, their first and most recent also having been Echoes, Silence, Patience & Grace and Medicine at Midnight, respectively. The band’s only set to lead Top Hard Rock Albums but not Top Alternative Albums is 2009’s Greatest Hits, which peaked at No. 2 on the latter.
Foo Fighters take sole possession of the second-most Top Alternative Albums No. 1s. Lana Del Rey leads all acts with seven.
Most No. 1s, Top Alternative Albums:7, Lana Del Rey6, Foo Fighters5, Coldplay5, Disturbed5, Imagine Dragons5, Pearl Jam5, Jack White
But Here We Are also begins at No. 2 on Top Rock & Alternative Albums and Top Rock Albums.
On the all-genre Billboard 200, the album starts at No. 8, marking Foo Fighters’ 10th top 10. The band first reached the region with the No. 10-peaking The Colour and the Shape in June 1997. Of those top 10s, two – 2011’s Wasting Light and 2017’s Concrete and Gold – hit No. 1.
Concurrently, “Rescued,” the first single from But Here We Are, rises 3-1 on the multi-metric Hot Hard Rock Songs list in its eighth week on the tally. It’s the band’s third No. 1 dating to the chart’s 2020 inception, following the eighth-week rule of “Waiting on a War” beginning in February 2021 and the three-week reign of 1997’s “Everlong” in April 2022, the latter following the death of drummer Taylor Hawkins.
“Rescued” totaled 10.5 million radio audience impressions, 1.6 million official streams and 1,000 downloads sold June 2-8.
Concurrently, “Rescued” rules Rock & Alternative Airplay and Mainstream Rock Airplay for a fifth week each and Alternative Airplay for a fourth frame.
Seven songs from But Here We Are appear on Hot Hard Rock Songs, with “Rescued” followed closest by “The Glass” at No. 5 (1.6 million streams).
“Rescued” also jumps 17-12 on Hot Rock & Alternative Songs, followed by “The Glass” at No. 33.