Chart Beat
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As previously reported, Harry Styles came out on top on Billboard Boxscore’s 2023 midyear Top Tours chart. But it wasn’t an easy win. Across the six-month tracking period, the No. 1 spot flipped six times, coming down to a margin of less than $500,000, or 0.3%. Take a look below at how the midyear 2023 Top Tours ranking took shape, from Nov. 1, 2022, through April 30, 2023.
For the first day of November, Elton John led via his Nov. 1 show at Las Vegas’ Allegiant Stadium, earning $7.8 million, according to figures reported to Billboard Boxscore. But, temporarily, he gave way to Coldplay, in the middle of a 10-show run at Buenos Aires’ Estadio Unico Ciudad de La Plata.
It took two Argentinian shows for Coldplay to take over. But before that epic run could end, Sir Elton was back on top, continuing his mammoth stadium run in North America, including three sold-out shows at Los Angeles’ Dodger Stadium on Nov. 17 and 19-20.
John held the top spot into December, until being displaced by 2022’s overall champ, Bad Bunny. The Puerto Rican superstar wrapped World’s Hottest Tour, reaching a high of $67.9 million since the beginning of the ’23 tracking period. But just like that, Daddy Yankee, another Puerto Rican icon promoted by Cardenas Marketing Network, took over for the end of the calendar year, with $72.5 million.
Elton was back in January, playing shows in Oceania that not only gave him a third stint at No. 1, but cemented the Farewell Yellow Brick Road Tour as the highest-grossing tour of all time.
But then came Harry. After many months, midyears and year-end rankings in the top five, Mr. Styles claimed the pole position, juiced up by shows in Australia and Asia in February and March. Ultimately, he earned $138.6 million between November and April.
And despite Elton’s last-minute run at the O2 Arena (and one show on April 27 at Munich’s Olympiahalle), Styles stayed strong. John inched towards the top but ultimately fell short by less than half of a percentage point.
While those men traded off on top, Ed Sheeran, Trans-Siberian Orchestra, Dua Lipa, Kevin Hart, Luke Combs, SZA and many more came in as some of the top touring acts of the midyear tracking period. Check back later this year for a year-end update with some of the summer’s biggest stadium runs.
Stray Kids surge from No. 97 to No. 1 on the Billboard Artist 100 chart (dated June 17), returning as the top musical act in the United States for a third total week on top, thanks to the group’s new album 5-STAR.
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The set, released June 2 via JYP/Imperial/Republic Records, debuts at No. 1 on the Billboard 200 with 249,500 equivalent album units earned in the U.S. in the week ending June 8, according to Luminate. That’s the fourth-largest week, by units earned, for any album in 2023 so far.
Stray Kids earn their third Billboard 200 No. 1, after Oddinary and Maxident, both in 2022.
Of the new title’s 249,500 units, 235,000 were in album sales. Like many K-pop releases, the CD edition of 5-STAR was issued in collectible CD packages (18 total, including exclusives for Barnes & Noble, Target, Walmart and a signed edition in the group’s webstore), each containing a standard set of bonus items and randomized elements (photo cards, mini posters, sticker sets, photo books). There were also four alternative digital versions of the album, sold only in the act’s webstore, each containing the base song tracklist, but with alternative covers and bonus voice memos from individual members of the eight-member group, each selling for $6.99.
Dating to the Artist 100’s launch in 2014, Stray Kids are just the second K-pop act to spend at least three weeks at No. 1. BTS has logged 21 weeks on top (the fourth-most among all acts).
Elsewhere on the Artist 100, Jelly Roll jumps 15-4, reaching the top 10 for the first time thanks to his new LP Whitsitt Chapel. The set, released through Bailee & Buddy/Broken Bow/BMG/BBMG, debuts at No. 1 on Top Rock & Alternative Albums, No. 2 on Top Country Albums and No. 3 on the Billboard 200 (90,000 units), all career bests. The Billboard cover star previously spent a record 28 weeks on the Emerging Artist chart.
Plus, ENHYPEN re-enters the Artist 100 at No. 5, a new best, thanks to the group’s new EP Dark Blood. The set, released via Be:Lift Lab/Geffen/IGA, debuts at a career-high No. 4 on the Billboard 200 (88,000 units); the act previously hit the top 10 (No. 6) in August 2022 with the EP Manifesto: Day 1.
The Artist 100 measures artist activity across key metrics of music consumption, blending album and track sales, radio airplay and streaming to provide a weekly multi-dimensional ranking of artist popularity.
Additional reporting by Keith Caulfield.
Celebrating a milestone 10 years together as a group in July 2023, no one can deny BTS’ impact on not just K-pop, not just pop, but on music as a whole. With members of ARMY (the name of their loyal fanbase) stationed all over the world, RM, Jin, Suga, J-Hope, Jimin, V and Jungkook have […]
The race is on! Dave and Central Cee‘s “Sprinter” (via Live Yours/Neighbourhood) edges into the lead on the midweek U.K. singles chart, after JHus and Drake came out fast from the starting blocks with “Who Told You”. Explore See latest videos, charts and news See latest videos, charts and news If “Sprinter” maintains its pace, it’ll land […]
Niall Horan welcomed fans to The Show (via Capitol). Now he’s set to be rewarded with the U.K. chart title.
The Irish pop singer’s third solo album leads the midweek U.K. chart race, piloting an all-new top 5 featuring new releases from McFly, James, Christine & The Queens and Extreme.
If it holds its course, The Show will give the former One Direction star his sixth leader overall and second solo No. 1, following 2020’s Heartbreak Weather. Horan’s debut solo effort Flicker peaked at No. 3 in 2017.
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As a member of 1D, Horan landed four U.K. No. 1 albums and as many leaders on the national singles survey.
Arriving at No. 2 on the Official Chart Update is McFly’s Power to Play (BMG), which is set to become the pop-punk band’s seventh top 10 release.
The podium at the midweek stage is completed by Britpop-era Manchester band James, with Be Open to the Wonderful (Nothing But Love Music). James has ten U.K. top 10 albums, including a No. 1 for 1998’s The Best Of.
French alternative pop outfit Christine & The Queens could net a third U.K. top 10 with Paranoia, Angels, True Love (Because Music). The three-part LP is new at No. 4 on the midweek chart.
Close behind at No. 5 is veteran U.S. rock band Extreme with Six (Ear Music), which set to become the “More Than Words” act’s first U.K.-charting album since 1995’s Waiting for the Punchline (No. 10 peak). Six could be Extreme’s third top 10 release.
Further down the midweek tally is Tears For Fears’ 40th anniversary reissue of their debut album The Hurting (Mercury), which originally led the chart in 1983. The Hurting is poised to return at No. 7.
And finally, English singer, producer and rapper King Krule could bag his first top 10 LP with Space Heavy (XL Recordings), new at No. 8 on the chart blast.
All will be revealed when the Official U.K. Albums Chart is published Friday (June 16).
Bizarrap and Peso Pluma’s “Bzrp Music Sessions, Vol. 55” vaults to No. 1 on the Billboard Global Excl. U.S. chart (dated June 17). The song debuted a week earlier at No. 54 and soars to the top following its first full week of tracking. It’s the second song in Bizarrap’s “Sessions” series to rule the ranking, after “Vol. 52,” with Quevedo, dominated for six weeks in July-September 2022.
Meanwhile, Eslabon Armado and Peso Pluma’s “Ella Baila Sola” adds a fifth week at No. 1 on the Billboard Global 200 chart, having become the ranking’s first leader for the regional Mexican genre.
Notably, Peso Pluma becomes the first act to lead the lists simultaneously with different songs.
Plus, Dave and Central Cee’s “Sprinter” debuts at No. 8 on Global Excl. U.S. and No. 9 on the Global 200.
The Billboard Global 200 and Billboard Global Excl. U.S. charts, which started in September 2020, rank songs based on streaming and sales activity culled from more than 200 territories around the world, as compiled by Luminate. The Global 200 is inclusive of worldwide data and the Global Excl. U.S. chart comprises data from territories excluding the United States.
Chart ranks are based on a weighted formula incorporating official-only streams on both subscription and ad-supported tiers of audio and video music services, as well as download sales, the latter of which reflect purchases from full-service digital music retailers from around the world, with sales from direct-to-consumer (D2C) sites excluded from the charts’ calculations.
‘55’ = No. 1 on Global Excl. U.S.
“Bzrp Music Sessions, Vol. 55” by Bizarrap, from Argentina, and Peso Pluma, from Mexico, skyrockets to No. 1 on the Billboard Global Excl. U.S. chart, with 64.9 million streams outside the U.S. June 2-8, the song’s first full tracking week following its May 31 release. The corrido debuted a week earlier at No. 54 – and makes the biggest jump to the summit in the survey’s archives.
“Vol. 55” is the second song in Bizarrap’s “Sessions” series to rule Global Excl. U.S., after “Vol. 52,” with Quevedo, reigned for six weeks in July-September 2022. The songs mark Bizarrap’s two No. 1s on the chart, while Peso Pluma earns his first leader on the list. (Each act adds a third top 10.)
In between “Vol. 52” and “Vol. 55,” Bizarrap’s “Vol. 53,” with Shakira, hit No. 2 on Global Excl. U.S. this January and “Vol. 54,” with Arcangel, reached No. 22 in April. Seventeen songs in Bizarrap’s “Sessions” series have now secured a spot on the tally, among 20 charted titles by the DJ/producer. “Vol. 36,” with Nathy Peluso, became the first such entry, in December 2020.
YOASOBI’s “Idol” dips to No. 2 on the Global Excl. U.S. chart, a week after it became the first song originally performed in Japanese to top the tally; Fifty Fifty’s “Cupid” falls 2-3. after two weeks on top; Eslabon Armado and Peso Pluma’s “Ella Baila Sola” rises 5-4, after reaching No. 2; and Yng Lvcas and Peso Pluma’s “La Bebe” retreats 3-5, after four weeks at its No. 2 high.
Elsewhere in the Global Excl. U.S. top 10, Dave and Central Cee’s “Sprinter” races onto the chart at No. 8, with 39.7 million streams and 1,000 sold outside the U.S. The collaboration marks the first top 10 on the survey for each London-born rapper. It also launches at No. 1 on the Official UK Singles chart.
‘Ella Baila Sola’ Holds Atop Global 200
Eslabon Armado and Peso Pluma’s “Ella Baila Sola” leads the Billboard Global 200 for a fifth week, with 76.2 million streams (down 1%) and 2,000 sold (down 11%) worldwide June 2-8.
With Bizarrap’s “Bzrp Music Sessions, Vol. 55” atop Global Excl. U.S. and “Ella Baila Sola” leading the Global 200, Peso Pluma makes history as the first act to top the charts simultaneously with different songs.
“Vol. 55” opens at No. 2 on the Global 200, with 78.3 million streams and 1,000 sold worldwide. Bizarrap and Peso Pluma each post a third top 10 on the chart.
Fifty Fifty’s “Cupid” is steady at No. 3 on the Global 200, after reaching No. 2; Bad Bunny’s “Where She Goes” rebounds 5-4, two weeks after it bounded in at No. 1; and Yng Lvcas and Peso Pluma’s “La Bebe” drops to No. 5 from its No. 2 best.
Plus, Dave and Central Cee’s “Sprinter” debuts at No. 9 on the Global 200, led by 44.4 million streams worldwide. As on Global Excl. U.S., the track is the first top 10 on the Global 200 for each artist.
The Billboard Global 200 and Billboard Global Excl. U.S. charts (dated June 17, 2023) will update on Billboard.com tomorrow (June 13). For both charts, the top 100 titles are available to all readers on Billboard.com, while the complete 200-title rankings are visible on Billboard Pro, Billboard’s subscription-based service. For all chart news, you can follow @billboard and @billboardcharts on both Twitter and Instagram.
Luminate, the independent data provider to the Billboard charts, completes a thorough review of all data submissions used in compiling the weekly chart rankings. Luminate reviews and authenticates data. In partnership with Billboard, data deemed suspicious or unverifiable is removed, using established criteria, before final chart calculations are made and published.
Additional reporting by Pamela Bustios.
Billboard Boxscore’s Midyear reports are in, and once again, the box-office ticket sales data voluntarily submitted by promoters and venues shows continued growth in the top tier of tours.
This year’s numbers are a strong signal of strength in the post-pandemic concert business. Still, a more in-depth look shows that the business may also have to adjust the way it looks at the touring calendar.
For much of the history of the concert business, touring schedules were planned around the calendar year: Outdoor tours launched in spring hit their high mark in summer and wrapped up in autumn, coming off the road just as winter began. But the growth of the indoor arena business — and growing importance of international markets — has upended the traditional touring calendar, in turn affecting how information from reporting tools such as the midyear Boxscore reports is used.
“The idea of touring year-round was once revolutionary,” says Gregg Perloff with Another Planet Entertainment, which produces concerts in the San Francisco Bay Area. “In California, the moderate climate allowed for year-round touring, but few acts wanted to be the ones who experimented with performing during the winter months. But as the business became more global, that shift started happening without any people noticing, and today, the schedule for how major acts tour is totally different than it was in the past.”
In the Spring of Things
This year’s data shows that many tours now begin in late March or early April, and that the fall months of October and November, when tours once wound down, are now more of a midpoint.
The height of concert season now takes place well past the middle of the summer and continues into the beginning of the new year — and often wraps up in seasonally warm climates. Take for example the midyear Top Tours title holder, Harry Styles, who began the European leg of his Love on Tour trek in late June 2022, and will end his run in July 2023. Coldplay, which launched its Music of the Spheres world tour in late March 2022, will end the bulk of its touring in July of this year. (The band will then play four fall dates, including makeup performances in San Diego, Australia and Malaysia.)
By late May/early June, it often starts to become clear which headline concert tours stand out as big earners, which major-market venues won the big shows of the summer and who will be headlining the big festivals that run through Labor Day weekend. But that’s a challenge for calendar-based reporting metrics such as Billboard Boxscore, whose midyear tracking period covers shows from Nov. 1, 2022, to April 30, 2023. While November is typically a strong month for the concert business, touring grinds to a halt around mid December and often doesn’t resume in a major way until mid March.
Still, while the top 10 of the Top Tours chart is $94 million stronger than 2022’s midyear recap, it’s not because the 2023 season started earlier, but because the 2022 season ran longer.
New Year, Same Success Stories
The 2023 Top Tours chart essentially functions as an addendum to the 2022 year-end chart at the halfway point, with all of the top 10 midyear tours from 2023 also appearing on the 2022 year-end chart, including seven within the year-end top 10. The crossover is simple to explain: The tours continued after Billboard’s Nov. 1 cutoff date.
Bad Bunny’s record-breaking $373 million haul from 2022 actually extends past the $400 million mark after factoring in the last two months of the year. Elton John adds $60 million to his $338 million year-end total when his shows at Dodger Stadium in Los Angeles are accounted for, according to the midyear report.
Nearly all of the concerts featured on the midyear charts took place in venues in the western United States, Mexico, South America or Australia.
Only one entry on the top 10 Boxscores chart was located in a cold-climate city: John’s run of shows in London, which took place during the fairly warm month of April.
That’s not to say the East Coast and Western Europe is dead in the winter. Eleven of the top 20 performing venues in the categories of 10,001-15,000 capacity and 15,001 or more capacity are located in cold-climate cites such as London; Hamburg, Germany; New York; and Washington, D.C. The number drops to five out of 10 for theaters and four out of 10 for clubs.
Some of the year’s biggest tours — including those by Taylor Swift, Beyoncé and Madonna — will likely make a sizable dent in 2023’s year-end charts with blockbuster summer grosses as stadiums in America open up for the next several months. (Beyoncé’s and Madonna’s tours began after the tracking period for the midyear report ended; Swift is yet to report numbers during that span.) Once reported, those figures will provide a strong indication of how 2023 looks — and early sales reports have concert business executives feeling optimistic.
Mexico Drives International Growth
Even with half of 2023 remaining, data from the midyear Boxscore report may indicate what lies in store for the rest of the year. One example is Phish reporting that it earned $22 million from its February engagement at the Moon Palace Golf & Spa Resort in Cancun, Mexico. The impressive eight-figure return proves that the perennial jam-rock band can still generate huge sales. It also shows that demand for live entertainment is still strong there, both for concerts targeting U.S. tourists and those aimed at residents of Mexico.
Two other concerts, both held in Mexico City — Daddy Yankee at the Foro Sol and Corona Capital at Autódromo Hermanos Rodríguez — each generated over $20 million apiece, making Mexico the highest grossing country on Billboard’s Top 10 Boxscores chart. That data shows that despite a continued rise in cartel violence since 2019, according to the U.S. Department of State, the Mexican concert market remains strong nearly a year after Live Nation purchased Mexican promoter OCESA. That information can be extremely helpful to concert bookers and promoters as they plot touring plans — potentially far more important than what part of the touring cycle Billboard Boxscore covers. Still, the inexorable shift toward year-round touring is making itself felt in a way that’s hard to ignore.
Harry Styles has been a constant presence on Billboard’s Top Tours chart, especially since the post-pandemic return of live music. He was No. 3 on 2021’s abridged year-end ranking, No. 21 on 2022’s midyear list and finished at No. 4 on that year’s overall tally. In between and since then, he has appeared on 13 monthly charts, including 10 top five appearances and three at No. 2. Now, finally, he takes his place atop the heap, dominating the 2023 midyear chart.
According to figures reported to Billboard Boxscore, Styles’ Love on Tour trek grossed $138.6 million and sold 1.2 million tickets across 38 shows between Nov. 1, 2022, and April 30, 2023. That puts him at No. 1 on both Top Tours (ranked by gross revenue) and Top Ticket Sales (ranked by paid attendance).
Though this is Styles’ first solo appearance at No. 1 on Top Tours, he has reached the summit before as a member of One Direction. The five-member global sensation topped the 2014 year-end list and the 2015 midyear chart.
As Styles’ consistent chart presence indicates, his midyear triumph is the result of a constant grind, with the pop star road warrior making his way to the top at a pivotal moment in the two-year tour. The Love on Tour run was long delayed (pandemic-affected tours continue to appear on the Boxscore charts) but built upon the successful tours behind both 2019’s Fine Line and 2022’s Harry’s House.
Styles’ win is also an example of Boxscore’s global reach, as the artist’s chart totals include shows in California, Central and South America, Australia and Asia.
Styles began the tracking period with the back half of 12 shows at the Kia Forum in Inglewood, Calif. (The first half were in October, which counted toward the 2022 year-end rankings.) He returned for three additional dates at the venue in January that were rescheduled from November, completing a $47.8 million haul over 15 concerts at the Los Angeles-area arena. Of that total, $28.9 million goes toward the 2023 charts, placing Styles at No. 3 on Top Boxscores.
From mid-November to mid-December, Styles played 14 shows in Mexico and South America, adding $40.4 million and 546,000 tickets. Then, following his final return to California (the three last Kia Forum shows, as well as two at the Acrisure Arena in Palm Desert, Calif.), he swept through Australian stadiums, earning $47.6 million from 373,000 tickets sold.
Those legs include three appearances on Top Boxscores, at Nos. 15 ($16.4 million; Accor Stadium, Sydney; March 3-4), 20 ($15 million; Marvel Stadium, Melbourne; Feb. 24-25) and 27 ($11.1 million; Allianz Parque, São Paulo; Dec. 6, 13-14).
Finally, Styles played six shows in Asia, adding $16.1 million and 122,000 tickets to his totals.
On Top Ticket Sales, Coldplay joins Styles as the only other act to sell over a million tickets during the tracking period. Coldplay’s 1.11 million tickets fall 9% short of Styles’ 1.22 million.
But on Top Tours, the margins are even thinner. Styles’ $138.6 million barely defends his title against Elton John’s late-surging total of $138.2 million, maintaining a lead of just 0.3% over his fellow Brit. Like Styles, John has been a consistent player on Billboard’s monthly, midyear and year-end Boxscore charts since the launch of his Farewell Yellow Brick Road Tour. Notably, he was No. 1 on the midyear rankings for 2019 and 2020 and has topped seven monthly listings, which is more than any other act.
The presence of pop/rock British acts from last year’s Boxscore charts doesn’t end with Styles and John. Coldplay and Ed Sheeran, who come in at Nos. 3 and 4, respectively, on the midyear list, were Nos. 5 and 3, respectively, on last year’s recap. The only other act in last year’s top five was Bad Bunny, who winds up at No. 6 on the midyear chart, bumped by fellow Cárdenas Marketing Network artist Daddy Yankee.
Carryover from one year-end chart to the next is common, as major tours often continue beyond Billboard’s cutoff date of Oct. 31/Nov. 1. Further, tours are also blurring the lines of traditional album cycles, carrying on beyond a typical one-year span. Styles’ Love on Tour run has spanned the release of two albums, while Sheeran’s Mathematics Tour began as support for 2021’s = (Equals) and continues following the release of – (Subtract) in May.
Those blurred lines disappear, however, for Taylor Swift’s The Eras Tour, which is celebrating her entire discography rather than focusing on last year’s chart-topping Midnights. Launching in mid-March and continuing through the summer, the trek will likely crash the year-end rankings with other summer tentpole tours. But Styles won’t fade away. While Love on Tour became one of Boxscore’s highest grossing treks of all time in May, 30 shows still remain — and he’ll play stadiums in Europe before wrapping July 22 in Italy, perhaps on his way to a $500 million finish.
Morgan Wallen’s “Last Night” achieves a 10th week at No. 1 on the Billboard Hot 100 songs chart. It becomes the 44th song since the Hot 100 began in August 1958 to reign for 10 or more weeks, out of 1,149 total No. 1s – an achievement that only 4% of all leaders have attained.
Plus, Luke Combs’ cover of Tracy Chapman’s classic “Fast Car” keeps on driving, advancing from No. 8 to No. 4 on the Hot 100. The song surpasses the No. 6 peak in 1988 of Chapman’s original – and, combined with Wallen’s “Last Night,” makes for two simultaneous top five country hits for the first time since 2000.
The Hot 100 blends all-genre U.S. streaming (official audio and official video), radio airplay and sales data. All charts (dated June 17, 2023) will update on Billboard.com tomorrow (June 13). For all chart news, you can follow @billboard and @billboardcharts on both Twitter and Instagram.
Wallen’s “Last Night,” released on Big Loud/Mercury/Republic Records, drew 68.8 million radio airplay audience impressions (up 4%) and 31 million streams (down 6%) and sold 8,000 downloads (down 6%) in the June 2-8 tracking week, according to Luminate.
The song, which initially led the Hot 100 in March, becoming Wallen’s first leader on the list, adds a 12th week at No. 1 on the Streaming Songs chart; holds at its No. 4 high on Radio Songs; and rebounds 6-4 on Digital Song Sales, following a week on top.
Additionally, “Last Night” tops Billboard’s Hot Country Songs chart, which employs the same multi-metric methodology as the Hot 100, for an 18th week – tying for the 10th-longest command since the chart became an all-encompassing genre survey in October 1958. Wallen is the only soloist with two of the 10 longest-leading Hot Country Songs hits in that span, as his “You Proof” amassed 19 weeks on top in 2022.
“Last Night” concurrently leads the Country Airplay chart for a sixth week and holds at its No. 10 best on the Pop Airplay chart. It became Wallen’s ninth No. 1 on the former and his first top 10 on the latter list.
“Last Night” is also the hottest hit on Billboard’s Songs of the Summer chart, which returned a week earlier.
Miley Cyrus’ “Flowers” lifts 3-2 on the Hot 100, after eight weeks at No. 1 beginning upon its debut in January. It posts a 17th week atop Radio Songs (87 million in audience, essentially even week-over-week). The track now solely boasts the third-longest reign since Radio Songs began in December 1990 – and claims outright the longest domination for a song by a woman.
Most Weeks at No. 1 on Radio Songs:
26, “Blinding Lights,” The Weeknd, 2020
18, “Iris,” Goo Goo Dolls, 1998
17, “Flowers,” Miley Cyrus, 2023
16, “Girls Like You,” Maroon 5 feat. Cardi B, 2018
16, “We Belong Together,” Mariah Carey, 2005
16, “Don’t Speak,” No Doubt, 1996-97
15, “Easy On Me,” Adele, 2021-22
Rema and Selena Gomez’s “Calm Down” rises to a new No. 3 Hot 100 high, from No. 5. (It reaches the top three in its 40th week on the chart, the fifth-longest ascent to the region; Glass Animals’ “Heat Waves” took a record 51 weeks to the top three in 2021-22.) “Calm Down” also tops the Billboard U.S. Afrobeats Songs chart for a 41st week, extending the longest reign since the ranking began over a year ago (in partnership with music festival and global brand Afro Nation).
Luke Combs’ cover of Tracy Chapman’s “Fast Car” accelerates to a new No. 4 Hot 100 high. The song bests the No. 6 peak, in August 1988, of Chapman’s original. Three weeks ago, Combs’ version became the 16th remake of an ‘80s Hot 100 top 10 to also reach the tier. As his has now charted higher than Chapman’s, of those 16 such double-ups, covers have peaked higher than originals in only five cases.
Notably, Chapman, who solely wrote “Fast Car,” appears in the Hot 100’s top five with a second hit as a songwriter: “Give Me One Reason,” which she also penned solo, and which became her other top 10 as a recording artist, hit No. 3 in June 1996.
Combs adds his second top five Hot 100 hit, after “Forever After All” debuted at its No. 2 peak in November 2020.
“Fast Car” wins the Hot 100’s top Airplay Gainer award for a third consecutive week (34.2 million, up 30%). As previously reported, it hits the Country Airplay top 10 and ranks in the top 25 on Adult Contemporary, Adult Pop Airplay and Pop Airplay. The song is also up 1% to 20.2 million streams and 4% to 9,000 sold.
Meanwhile, with Wallen’s “Last Night” at No. 1 and Combs’ “Fast Car” parked at No. 4, two country hits (as defined by titles that have hit Billboard’s Hot Country Songs chart, where they currently place at Nos. 1 and 2, respectively) rank in the Hot 100’s top five simultaneously for the first time in over 23 years: for eight weeks in February-April 2000, Lonestar’s “Amazed” and Faith Hill’s “Breathe” shared space in the top five. (Before that, such tandems had not occurred since September 1981, when Juice Newton’s “Queen of Hearts” and Ronnie Milsap’s “[There’s] No Gettin’ Over Me” ranked in the top five together.)
A pair of country songs appearing in the Hot 100’s top five for the first time in nearly a quarter-century continues the genre’s surge this year; as analyzed by Hit Songs Deconstructed, country tied pop as the most prominent primary genres in the chart’s top 10 in Q1 2023, marking country’s best such showing in over a decade.
Lil Durk’s “All My Life,” featuring J. Cole, dips 4-5 on the Hot 100, three weeks after it launched at its No. 2 high. It tops the multi-metric Hot R&B/Hip-Hop Songs and Hot Rap Songs for a third week each. SZA’s “Kill Bill” keeps at No. 6 on the Hot 100, after it became her first No. 1, for a week in April. It leads the multi-metric Hot R&B Songs chart for a 25th week.
Toosii’s “Favorite Song” rebounds 9-7 on the Hot 100, after hitting No. 5. Eslabon Armado and Peso Pluma’s “Ella Baila Sola” retreats 7-8 on the Hot 100, after reaching No. 4 – the best rank ever for a regional Mexican song. It posts a 10th week at No. 1 on the multi-metric Hot Latin Songs chart.
Metro Boomin, The Weeknd and 21 Savage’s “Creepin’ ” repeats at No. 9 on the Hot 100, after hitting No. 3, and, rounding out the top 10, Taylor Swift’s “Karma,” featuring Ice Spice, falls to No. 10 from its No. 2 high, a week after it vaulted (from No. 27) following the first week of tracking after the release of its remix with Ice Spice. Still, “Karma” hits the Radio Songs top 10 (12-7; 45.6 million, up 19%), becoming Swift’s 18th top 10, as she ties for the seventh-best sum (Rihanna leads with 30), and Ice Spice’s second.
Again, for all chart news, you can follow @billboard and @billboardcharts on both Twitter and Instagram and all charts (dated June 17), including the Hot 100 in its entirety, will refresh on Billboard.com tomorrow (June 13).
Luminate, the independent data provider to the Billboard charts, completes a thorough review of all data submissions used in compiling the weekly chart rankings. Luminate reviews and authenticates data. In partnership with Billboard, data deemed suspicious or unverifiable is removed, using established criteria, before final chart calculations are made and published.
Dave and Central Cee’s “Sprinter” (via Live Yours/Neighbourhood) does just like its namesake, as it bolts to the U.K. No. 1 in record-setting fashion.
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The hip-hop collaboration scores the biggest streaming week ever for a rap song in the U.K., the Official Charts Company reports, for Dave’s third leader and Central Cee’s first.
The outright leader at the midweek point, “Sprinter” races to 108,200 chart sales, according to the charts compiler, for the biggest opening of 2023. That sum includes 13.4 million streams, for the biggest-ever week for a rap single, beating Stormzy’s “Vossi Bop” which accumulated 12.7 million streams in one cycle back in May 2019.
That’s the biggest opening week for streams since Adele’s “Easy On Me” posted 24 million plays in its first seven days in October 2021.
Previously, Dave hit the summit with 2018’s “Funky Friday” with Fredo and in 2022 with “Starlight,” while Central Cee’s previous best was a No. 2 peak for 2022’s “Doja.”
“Sprinter” also nabs a piece of chart history in Australia, by coming the first U.K. rap single to debut at No. 1 on the ARIA Chart.
It’s one of three top 20 U.K. debuts from Dave and Central Cee’s surprise EP drop, Split Decision, as “Trojan Horse” gallops to No. 14 and “UK Rap” is new at No. 17.
Meanwhile, Sweden’s 2023 Eurovision champ Loreen taps a well of energy on the Official U.K. Singles Chart, published Friday, June 9, as “Tattoo” (Polydor) bounces 10-7 in its fourth week on the tally, while Rudimental improves 11-8 with “Dancing Is Healing” (Room Two) featuring Charlotte Plank and Vibe Chemistry, for the British drum & bass act’s first top 10 single in five years.
Kylie Minogue is within a whisker of the top 10 with her comeback track “Padam Padam” (BMG). The Aussie pop princess’ electro-pop cut lifts 23-12 for her highest-charting single in the U.K. since “Higher with Taio Cruz” went to No. 8 in 2011.
The queen of pop, Madonna, bags a 72nd top 40 appearance with “Popular” (Republic Records/XO), her collaboration with the Weeknd and Playboi Carti. Lifted from HBO’s The Idol, the new cut bows at No. 21 for Madonna’s highest-charting U.K. single since “Celebration” reached No. 3 in 2009. It’s the Weeknd’s 34th top 40 appearance, and Playboi’s second.
Finally, Dundee, Scotland DJ Hannah Laing and vocalist RoRo has the biggest gainer in the U.K. with “Good Love” (WUGD), up 63-22.