Chart Beat
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Rema and Selena Gomez’s “Calm Down” ascends to No. 1 on Billboard’s Rhythmic Airplay chart, jumping to the top of the May 6-dated survey.
It’s Rema’s first Rhythmic Airplay No. 1, earned with his first charting title. The format now has two straight No. 1s by first-time leaders, following Coi Leray’s six-week reign with “Players.”
“Calm Down” is the first No. 1 by an artist in a first Rhythmic Airplay appearance since Steve Lacy, whose “Bad Habit” led for a week last November.
As for Gomez, “Calm Down” is also her first No. 1 on Rhythmic Airplay, logged with her 14th charting title. She boasts a pair of previous top 10s: “Good for You,” featuring A$AP Rocky (No. 4, 2015), and “Same Old Love” (No. 6, 2016).
Concurrently, “Calm Down” lifts 3-2 for a new high on Pop Airplay. It also bullets at No. 24 on Adult Pop Airplay and No. 35 on R&B/Hip-Hop Airplay.
On the all-format Radio Songs chart, “Calm Down” held at its No. 4 best on the April 29-dated list with 72.4 million audience impressions in the April 21-27 tracking week, according to Luminate.
The April 29-dated Billboard Hot 100 found “Calm Down” at No. 7, after rising as high as No. 6 so far. In addition to its radio airplay, the song earned 15.7 million official U.S. streams and sold 5,000 downloads April 14-20.
The collaboration has also topped the Billboard U.S. Afrobeats Songs chart for 34 weeks running, the longest rule since the ranking began a year ago in partnership with music festival and global brand Afro Nation.
“Calm Down” is the second single from Rave & Roses, Rema’s debut studio album, released in March 2022. Since its release, the set has earned 291,000 equivalent album units.
Grupo Marca Registrada expands its winning streak across Billboard charts thanks to “Di Que Sí,” its first collab with Grupo Frontera, which conquers the Regional Mexican Airplay chart dated April 29.
The new coronation arrives a week after the song cracked the top 10 barrier on the all-genre Latin Airplay ranking (dated April 22) at No. 5, where it climbs to No. 3 on the current chart.
“Honestly, we did not expect such a great reaction from the audience,” Fidel Castro, leading member of Grupo Marca Registrada, tells Billboard. “This is a collab that we enjoy very much, and it certainly won’t be the last one!”
“Di Que Sí,” written by Edgar Barrera, jumps 2-1 on Regional Mexican Airplay with a 6% increase in audience impressions, to 8.4 million, earned in the U.S. during the April 14-20 tracking week. It evacuates Calibre 50’s “Dirección Equivocada” from No. 1 after two weeks in charge.
“Di Que Sí,” released Feb. 3 through Interscope/RB, takes over the chart in its sixth week. Regional Mexican Airplay sees both Interscope at the summit for the first time, in its third chart appearance, following Enrique Iglesias’ “Ritmo Total” which debuted and peaked at No. 22 in Dec. 1999.
Notably, the Marca Registrada and Frontera collab returned the label to the ranking following two decades and a half of absence when it debuted at No. 20 on the March 25-dated list.
Meanwhile, RB also secures its first leader in its fourth try. The label last scored a No. 21 high with Pancho Barraza’s “Al Sabor del Champagne” in Oct. 2022.
Further, “Di Que Sí” concurrently gives Marca Registrada its first chart entrance, at No. 99 on the all-genre Billboard Hot 100 tally. Frontera secures its fifth visit. In addition to its radio boost, the track registered 5.1 million official U.S. streams in the U.S. during the same period.
Luis Figueroa’s “La Luz” Arrives: Elsewhere on the Latin charts, Puerto Rican Luis Figueroa captures his sixth top 10 on Tropical Airplay as “La Luz” ascends 11-9 in its fifth week. The track was released onMarch 16 via Magnus/ Sony Music Latin. It’s Figueroa’s first single from his upcoming EP Voy a Ti (to be released later this year).
“La Luz” enters the upper region on Tropical Airplay with 2.4 million in audience impressions, up 18%, earned during the same tracking week.
In total 19 songs have hit the top 10 on Tropical Airplay so far in 2023. Out of those, eight by solo artists, unassisted of a collaborator. As “La Luz” rises to No. 9, Figueroa becomes the only artist to place two top 10s, as a soloist, unaccompanied by any other act, in 2023. Here’s a look at those tracks:
Artist, Title, Peak Date, Peak Position
Manuel Turizo, “La Bachata,” Aug. 6, 2022, No. 1
Rosalía, “Despechá,” Oct. 1, 2022, No. 1
Luis Figueroa, “Fiesta Contigo,” Feb. 4, 2023, No. 4
Prince Royce, “Otra Vez,” Feb. 11, No. 6
Tommy Torres, “Mi Secreto,” Feb. 4, No. 10
Romeo Santos, “Solo Conmigo,” March 18, No. 3
Victor Manuelle, “Esta Noche Te Conviene,” April 1, No. 9
Luis Figueroa, “La Luz,” No. 9, April 29
Further, “La Luz” grants Figueroa a sixth entry on the all-genre Latin Airplay chart, at No. 46. It’s his best debut after “Todavía Te Espero” launched at No. 45 in May 2022. The track later entered the top 20, at No. 15.
When the Billboard Global 200 launched in September 2020, a wide swath of international territories across six continents was represented among the world’s biggest songs, led by the United States with 138 artist credits in that first week.
But traveling just south of the border, Mexican artists were notably absent. In fact, no artists from Mexico appeared for the chart’s first 33 editions, until Gera Mx and Christian Nodal debuted in May 2021 with “Botella Tras Botella.” On the April 29-dated survey, that sparse global representation has ballooned to 8% of the entire ranking, lagging behind only the U.S. (46%) and England (11%).
Among Spanish-speaking territories, Mexico is now, thus, the leader, having passed Puerto Rico and Colombia, which had functioned as generators of reggaeton’s biggest acts, including Bad Bunny, Feid and Karol G.
But Mexico’s recent surge is not due to a new wave of native reggaeton stars, although young acts such as Yng Lvcas and Peso Pluma are finding success with “La Bebe,” at No. 3 on this week’s Global 200. More generally, regional Mexican has soared in popularity as a genre, focused on traditional folk styles from rural Mexico and the southwestern U.S., helped along by some more modern pop and rhythmic flourishes, as well as exposure on TikTok and, surely, the increasing Hispanic population in the U.S.
The genre’s quick dash to the head of the pack includes some American acts, in addition to the many Mexican artists that have debuted this year. Grupo Frontera, from the Texas valley, score the week’s highest new Global 200 entry, teaming up with Puerto Rico’s Bad Bunny on “Un x100to.” The track starts at No. 5, becoming the group’s first top 10.
While Bad Bunny’s global superstardom can’t be removed from the equation of the song’s success, it’s noteworthy that he has joined them on a traditional regional Mexican track, rather than the group bending to his proven successful urbana style. Further down the chart, Latin pop act Becky G makes a similar move, joining Peso Pluma on “Chanel,” zooming from No. 141 to No. 85.
Meanwhile, California’s Eslabon Armado and Gudalajara’s Peso Pluma climb from No. 3 to No. 1 on the Global 200 with “Ella Baila Sola.”
Further cementing Mexico’s position of authority among Latin America, Peso Pluma becomes the country’s first act to top the tally, joining a slew of Latin acts who did so previously, including Puerto Rico’s Bad Bunny, Argentina’s Bizarrap and Colombia’s Shakira.
In all, Peso Pluma has nine songs on this week’s Global 200, trailing only Taylor Swift (10). That includes two debuts, at No. 123 with “Igualito A Mi Apa,” alongside Fuerza Regida, and No. 127 with “El Tsurito,” joined by Junior H and Gabito Ballesteros.
Peso Pluma’s huge haul is supported by Grupo Frontera (five entries of its own), and, with three songs each, Fuerza Regida, Junior H, Natanael Cano. With an extended supporting cast, regional Mexican artists put their stamp on 18 songs on the chart this week. Of those, three are debuts and 10 are on the rise, indicating there could be more on the way in the coming months.
He might be sidelined from his U.S. tour, citing doctor-ordered vocal rest, but Morgan Wallen is the talk of Australia right now.
For the very first time, Wallen has a chart double in the land Down Under.
The country star’s hit “Last Night” (Republic/Universal) holds at No. 1 on the ARIA Singles Chart for the third straight week, while its parent One Thing At A Time (Mercury/Universal) returns to the summit of the national albums survey for a second, non-consecutive week.
Wallen, who recently completed a tour of Australia, produced by Frontier Touring, becomes the first male American country singer to achieve the chart double in more than three decades, ARIA reports.
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The last was Billy Ray Cyrus, back in October 1992 when he ruled with his hit single “Achy Breaky Heart” and the album Some Gave All.
In his homeland, Wallen is facing a fair amount of backlash for scrapping a stadium show in Oxford, Mississippi at the last minute, then wiping a week of shows, citing those health issues. There were no such problems on his six-date run of arena and festival shows here last month.
Staying with the ARIA Albums Chart, published Friday, April 28, Metallica’s 72 Seasons (down 1-2 via Universal) and Taylor Swift’s Midnights (unchanged at No. 3 via Universal) complete the podium, respectively.
There’s a new arrival at No. 4 for D-DAY (BigHit Entertainment), the debut solo album from BTS’ Suga, released under his other stage name Agust D. Suga’s 2020 mixtape D-2 peaked at No. 2 in these parts.
Animated Aussie kid’s TV star Bluey fetches another No. 10 on the ARIA Albums Chart with Dance Mode! (Rkt/Orchard). It’s new at No. 7. The international phenomenon led the chart in 2021 with Bluey The Album and went on to win best children’s album at the ARIA Awards of that year.
After scooping a string of RIAA “Diamond” certifications, and releasing a greatest hits album to celebrate the achievement, Post Malone makes a sparkling chart appearance. The U.S. singer and rapper’s The Diamond Collection (Republic/Universal), which gathers eight of his most popular numbers, plus his new pop cut “Chemical,” starts at No. 16 on the ARIA Chart. It’s his fifth top 20 appearance on the tally, including two leaders with Beerbongs & Bentleys (2018) and Hollywood’s Bleeding (2019).
With Wallen reclaiming the top spot on the singles chart, TikTok star David Kushner makes his first appearance in the top five with viral number “Daylight” (Virgin/Universal), up 6-5, while ascendant K-pop girl group Fifty Fifty enjoys a fresh high with “The Beginning: Cupid” (Warner), up 9-6.
The highest entry on the latest chart belongs to The Weeknd and Future, with “Double Fantasy” (Universal). It’s new at No 9, giving The Weeknd two top 10 hits on the latest survey (“Die For You” is down 5-7), and his eighth top 10 hit in Australia across his career. “Double Fantasy” represents Future’s second ARIA top 10.
Among the more unlikely global hitmakers of 2023, Jack Black scores his first entry on the April 29-dated Billboard Global Excl. U.S. chart, one week after debuting on the Billboard Global 200. “Peaches,” Black’s contribution to The Super Mario Bros. Movie, arrives at No. 91 on the former chart and zooms from No. 106 to No. 48 on the latter.
In the week ending April 20, “Peaches” yielded 18.6 million streams and sold 8,000 downloads worldwide, according to Luminate. Those figures represent a 58% streaming increase and a 10% dip in sales from one week prior.
Concurrently, the original motion picture soundtrack for The Super Mario Bros. Movie, which includes “Peaches,” ascends to No. 1 on the U.S.-based Soundtracks chart (9,000 equivalent album units).
“Peaches” was released on April 7, following Mario’s April 5 premiere. In its first week, the song took 70% of its sales and 49% of its streams from the United States. In its second week, those percentages slipped to 68% and 43%, respectively, with the song increasing its international reach as the film continued atop the global box office.
Mario grossed a historic $376 million upon its opening, breaking down to 54% domestic and 46% international. Its second weekend added $194.9 million to its total, and in the weekend of April 21-23, another $132 million. From frame to frame, its international earnings climbed from 46% to 52% to 55%, similar to its standout song’s streams growing from 51% to 57%.
On next week’s May 6-dated global charts, based on the tracking week of April 21-27, international streams for “Peaches” should further outdo its domestic clicks as Mario’s box office followed the same path in its third weekend. The film’s strongest non-U.S. markets include Mexico ($66.2 million through April 24, according to Box Office Mojo), the U.K. ($51.7 million) and Germany ($38 million).
Soundtrack songs have a long history on the Billboard charts. Even within the still-brief two-year-plus history of the Global 200 and Global Excl. U.S., Academy Award winning songs by Billie Eilish, Eminem and a Lady Gaga–Bradley Cooper collab have made their stamp. Meanwhile, Black’s global triumph pairs blockbuster associations with the comedy-tinged success of Bo Burnham’s “All Eyes on Me” and “Bezos I,” both of which hit the Global 200 in 2021 on the back of his Netflix special Inside. Black has a history of his own on Billboard’s comedy charts as a member of Tenacious D, though “Peaches” marks his first solo chart hit.
Marshmello and Farruko score a top 10 debut on Billboard’s multimetric Hot Dance/Electronic Songs chart (dated April 29) with “Esta Vida” at No. 10. The collab drew 2.2 million official streams and 450,000 radio airplay audience impressions and sold 600 downloads in the April 14-20 tracking week, according to Luminate.
“Vida” is Marshmello’s 15th top 10, the fifth-most among all acts since the chart began in January 2013; only Kygo (24), The Chainsmokers, Calvin Harris (22 each) and David Guetta (21) have more. The track is also Marshmello’s 57th total charted title, lifting him out of a tie with Skrillex for the third-most, after Guetta (76) and Kygo (62).
Marshmello owns three Hot Dance/Electronic Songs No. 1s, including “Happier” (with Bastille), which spent a record 69 weeks at the summit in 2018-20.
“Vida” is Farruko’s fifth top 10 on the tally, a collection that includes his 2021 nine-week No. 1 “Pepas.”
The EDM-Latin crossover “Vida” also bows on Latin Pop Digital Song Sales (No. 3), Dance/Electronic Digital Song Sales (No. 7), Latin Pop Streaming Songs (No. 10) and Hot Latin Songs (No. 42), among other chart placements.
‘A Little’ More
On the Dance/Mix Show Airplay chart, ILLENIUM and Nina Nesbitt return to No. 1 for a third frame on top (after a one-week hiatus) with “Luv Me a Little.”
Continuing with the Dance/Mix Show Airplay chart, three team-ups hit the top 10 for the first time. First, Calvin Harris collects his 21st top 10 and Ellie Goulding grabs her 11th with “Miracle” (11-8). With the move, Harris passes Justin Bieber for a solo share of the third-most top 10s since the chart began in August 2003; only David Guetta (34) and Rihanna (24) have more.
“Miracle” is drawing core-dance airplay on Music Choice’s Dance/EDM channel, KMVQ-HD2 San Francisco and iHeartRadio’s Pride Radio, among other outlets. (The Dance/Mix Show Airplay chart measures radio airplay on a select group of full-time dance stations, along with plays during mix shows on around 70 top 40-formatted reporters.)
The track, for which a remix by Hardwell was released April 14, also earns top Streaming gainer honors on Hot Dance/Electronic Songs (at No. 9), up 15% to 2.8 million streams. “Miracle” also improves on Dance/Electronic Streaming Songs (15-13) and Dance/Electronic Digital Song Sales, reaching a new high (11-5; 700 sold, up 59%). Further gains could be reflected on next week’s charts, following the April 21 release of its Mau P remix.
Further on Dance/Mix Show Airplay, the second new top 10 collab belongs to Audien and Codeko with “Antidote,” featuring JT Roach (15-9). The sixth top 10 for Audien, “Antidote” is the first each for Codeko and Roach.
Last but not least, Icona Pop parades to its fifth Dance/Mix Show Airplay top 10, while Galantis gets its ninth, with “I Want You” (12-10).
Joey Moi makes history on Billboard’s Hot 100 Producers chart, as he scores a 28th total week at No. 1 (on the list dated April 29), surpassing Dan Nigro for the most weeks spent on top in the chart’s five-year history.
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Moi continues his reign thanks to 13 production credits on the latest Billboard Hot 100, nearly all of which are from Morgan Wallen’s latest album, One Thing at a Time. The set tallies a seventh consecutive week at No. 1 on the Billboard 200.
Leading Moi’s Hot 100 haul is “Last Night” at No. 2, after spending three weeks at No. 1. Here’s a recap of all 13 of his production credits on the latest chart:
Rank, Artist Billing, Title:No. 2, Morgan Wallen, “Last Night”No. 18, Morgan Wallen, “You Proof”No. 22, Morgan Wallen, “Thinkin’ Bout Me”No. 24, Morgan Wallen, “One Thing at a Time”No. 25, Morgan Wallen, “Thought You Should Know”No. 34, HARDY feat. Lainey Wilson, “Wait in the Truck”No. 61, Morgan Wallen, “Ain’t That Some”No. 64, Morgan Wallen, “Everything I Love”No. 66, Morgan Wallen, “I Wrote the Book”No. 67, Morgan Wallen feat. ERNEST, “Cowgirls”No. 68, Morgan Wallen feat. Eric Church, “Man Made a Bar”No. 84, Morgan Wallen, “Sunrise”No. 98, Morgan Wallen, “‘98 Braves”
Notably, all 36 of One Thing at a Time’s tracks hit the Hot 100 in the set’s debut chart week (March 18), setting a new one-week record for Wallen for the most simultaneously-charted titles.
With his 28th week at No. 1 on Hot 100 Producers, Moi surpasses Dan Nigro, who scored 27 weeks on top, all in 2021, thanks to his work on Olivia Rodrigo’s LP Sour, fueled most heavily by its two No. 1 Hot 100 hits, “Drivers License” and “Good 4 U.”
Most Weeks at No. 1 on Hot 100 Producers:28, Joey Moi27, Dan Nigro18, Louis Bell14, Greg Kurstin13, MAG11, Owen Bradley9, 30Roc8, Finneas7, Dr. Luke7, OZ7, Taylor Swift
Moi concurrently scores a record-extending 105th week at No. 1 on the Country Producers chart. He’s just the second person to amass at least 100 weeks at No. 1 on a Billboard producers chart, along with Tainy (119 weeks atop Latin Producers).
Billboard’s weekly Hot 100 Songwriters and Hot 100 Producers charts are based on total points accrued by a songwriter and producer, respectively, for each attributed song that appears on the Hot 100. 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). Billboard launched its 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. Alternative and hard rock joined in 2020, along with seasonal holiday rankings in 2022.
Foo Fighters match Shinedown for the most top 10s in the 14-year history of Billboard’s Rock & Alternative Airplay chart, as “Rescued” bounds in at No. 3 on the April 29-dated ranking.
“Rescued” starts with 4.9 million audience impressions earned in the April 14-20 tracking week, according to Luminate.
That count was accrued over just two days, as “Rescued” was released April 19.
“Rescued” is the second song to debut in the top three of Rock & Alternative Airplay in 2023, following Linkin Park’s “Lost,” which launched at No. 1 on the Feb. 25 tally and has remained atop the list since — it tallies its 10th week on top on the latest list.
Foo Fighters now boast 15 top 10s on Rock & Alternative Airplay, dating to the chart’s 2009 inception. That ties the band with Shinedown for the most top 10s, with Shinedown’s 15th, “Dead Don’t Die,” currently at No. 5 (3.9 million impressions).
Most Top 10s, Rock & Alternative Airplay:
15, Foo Fighters
15, Shinedown
13, Cage the Elephant
13, Imagine Dragons
13, twenty one pilots
11, The Black Keys
11, Muse
10, Weezer
Should it reach No. 1, “Rescued” would mark Foo Fighters’ record-extending 10th chart-topper. The next-closest acts — Cage the Elephant, Green Day and Twenty One Pilots — have six apiece.
Foo Fighters’ most recent No. 1, “Making a Fire,” crowned the survey for seven weeks in 2021. In between “Fire” and “Rescued,” they also charted with “Love Dies Young,” which peaked at No. 3 in March 2022.
Concurrently, “Rescued” starts at No. 18 on Alternative Airplay and No. 20 on Mainstream Rock Airplay.
The track also bows at Nos. 7, 23, 24 and 33 on the multimetric Hot Hard Rock Songs, Hot Alternative Songs, Hot Rock Songs and Hot Rock & Alternative Songs tallies, respectively. In addition to its radio audience, “Rescued” earned 744,000 official U.S. streams and sold 1,000 April 19-20.
That download count sends “Rescued” to a No. 1 debut on Alternative Digital Song Sales, marking Foo Fighters’ first leader in the ranking’s 12-year history. Previously, the band’s bests were No. 3 peaks with “My Hero” in 2022 (after originally becoming a hit in the late 1990s) and “Run” in 2017.
“Rescued” is the lead single from But Here We Are, Foo Fighters’ 11th studio album, due June 2. The Dave Grohl-fronted band’s first LP since 2021’s Medicine to Midnight is its first since the 2022 death of longtime drummer Taylor Hawkins, for whom a replacement has not yet been named.
Alejandro Fernández adds his 22nd top 10 on Billboard’s Latin Airplay chart as “Inexperto en Olvidarte” climbs 13-5 on the April 29-dated list. Notably, it’s the first song he’s recorded in his long career that was written by two women: Amanda Coronel and Fernanda Díaz.
“Inexperto en Olvidarte” was released Jan. 6 via Universal Music Latino/UMLE, and breaks the top 10 barrier on the all-genre chart in its 13th week with a 27% gain in audience impressions, to 8 million, earned in the U.S. in the week ending April 20, according to Luminate.
The mariachi tune follows another top 10 entry, “Nunca Dudes En Llamarme” with La Arrolladora Banda El Limón de René Camacho, which peaked at No. 8 in September. “Inexperto en Olvidarte” however, marks Fernández’s first top 10 as a soloist, unassisted by any other act, since “Te Olvidé’ reached the upper echelon reaching No. 7 high in May 2020.
In total, Fernández, has amassed a total of 22 top 10s, dating back to his first entry and top 10 “A Pesar de Todo” in 1994. Further, “Inexperto” becomes his best ranking since the two-week ruler “Caballero” (Jan. 2020).
With 22 top 10s on his chart account, Fernández ties with La Arrolladora, his last top 10 collaborator, for the sixth-most top 10s among reginal Mexican acts since Latin Airplay launched in 1994. Here’s a look at the scoreboard:
27, Marco Antonio Solis
26, Calibre 50
23, Banda El Recodo de Cruz Lizarraga
23, Banda MS de Sergio Lizarraga
23, Intocable
22, Alejandro Fernández
22, La Arrolladora Banda el Limon de Rene Camacho
As mentioned, “Inexperto” was written by two female songwriters, Amanda Coronel and Fernanda Díaz, who had collaborated prior through a Carin León track.
It concurrently returns Díaz to the top 10 on Latin Airplay: Regulo Caro’s No. 5-peaking “Cicatrices,” co-written with two other songwriters, gifted her a first top 10 in 2016 — she has placed two other top 30 tracks on the tally.
With “Inexperto,” Coronel, meanwhile, bests her previous No. 25 high entry as a songwriter also through a Caro track, “Piénsalo Bien” in 2019.
Further, “Inexperto” pushes up Regional Mexican Airplay, jumping from No. 4 to its new No. 3 peak.
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: Tyler the Creator’s new material is overshadowed by an older favorite, TikTok goes “Narcissistic” and a contemporary Christian rock classic gets a boost from an unlikely corner.
“See You Again,” Again: Tyler, the Creator’s 2017 Single Back for a Hot 100 Run
While Tyler, the Creator recently charted a trio of new cuts from his Call Me If You Get Lost: The Estate Sale deluxe reissue on the Billboard Hot 100, this week his highest-peaking entry on the chart comes from several album eras earlier. “See You Again,” the Kali Uchis-featuring love song, originally appeared on Tyler’s 2017 Columbia album Flower Boy, and just missed Billboard’s marquee songs chart, peaking at No. 13 on the Bubbling Under listing.
But the song has remained a steady streamer in the six years since its initial release, and in the past month, it’s crossed the threshold from “reliable catalog performer” to “legitimate new hit.” The song got a big boost from TikTok, of course, in particular via a trend of users lip syncing to, or commenting on, the section where Tyler’s “OK OK OK” and Uchis’ “La la la” hooks overlap, as well as a variety of other popular videos using the video over the last month. The star duo also gave the song a spotlight with a performance at weekend one of Coachella on April 16, with Tyler making a special appearance during Uchis’ set.
The combined result has been a surge over the past four weeks from 3.9 official on-demand U.S. streams (for the tracking week ending March 30) to nearly 8.3 million on the week ending April 20, according to Luminate – a gain of 112%. Consequently, the song debuts at No. 65 on the Hot 100 this week, belatedly making it the biggest hit on the chart from Flower Boy (passing the No. 87 peak of the A$AP Rocky-featuring “Who Dat Boy”), and also Uchis’ highest-charting entry since her breakout hit “Telepatía” hit No. 25 in summer 2021. – ANDREW UNTERBERGER
Odetari Opens Up & Scores an Unlikely Dance Hit
This week, rising producer Odetari scores his first-ever chart entry with “Narcissistic Personality Disorder,” which debuts at No. 11 on the Hot Dance/Electronic Songs chart. “Lost for words,” the independent artist posted on Twitter upon finding out about the feat — but based on the weeks-long rise of the propulsive track, the dance chart debut is only the beginning for Odetari’s viral hit.
The Houston native has described the self-released song as “about me constantly being in battle with destructive habits and asking god/universe for forgiveness,” and has used his recent singles to document his multiple personality disorders. The frankness of the lyrics (“I’m so full of myself, I’m selfish / Everybody want some help, can’t help it”), paired with the unrelenting tempo of his production, has proven affecting to listeners, and “Narcissistic Personality Disorder” has blown up on TikTok, with positive reactions to Odetari’s own posts as well as clips using the song as a soundtrack to others’ personal issues.
As a result, the song has skyrocketed on streaming platforms since its Apr. 1 release: from 65,000 official on-demand U.S. streams during the week ending Apr. 6, to 1.33 million streams the following week, to 2.38 million the following week, according to Luminate. Considering its subject matter and under-two-minutes run time, “Narcissistic Personality Disorder” is an unlikely breakthrough hit — but the more listeners connecting with its powerful message, the higher it will climb. – JASON LIPSHUTZ
A Travis Scott Interlude Gets Its Due
With interludes an increasingly common fixture of major hip-hop and pop albums over the last couple decades, fans are always lobbying for their musical short kings to be given their due. In the streaming age, those songs are able to find their audiences like never before, with brief-but-captivating cuts like The Weeknd’s Lana Del Rey-featuring “Stargirl Interlude” and Paramore’s “Interlude: I’m Not Angry Anymore” becoming among the most-listened-to cuts on their respective full-lengths.
In truth, Travis Scott’s “sdp interlude,” from 2016’s Birds in the Trap Sing McKnight, isn’t even that short – over three minutes, practically prog rock by this era’s standards. But fans have still made the case for it being underrecognized on TikTok over the past few months, saluting the original and also sharing clips of an unreleased fuller version with more of Scott’s actual rapping on it. As a result, fans have returned to the proper McKnight version on streaming, with official on-demand U.S. plays of the song raising from 1.1 million for the week ending March 30 to nearly 2.0 million for the week ending April 20, according to Luminate – a gain of 81%. – AU
Hillsong’s ‘Oceans’ Becomes a Streaming Knockout
While boxing and worship music aren’t the most natural fit together, a much-ballyhooed heavyweight bout in Las Vegas last Saturday night (Apr. 22) caused a streaming uptick for one of the biggest Christian music hits of the past decade. Before taking the ring for his match against Gervonta “Tank” Davis, 24-year-old lightweight fighter Ryan Garcia used “Oceans (Where Feet May Fail),” the 2013 smash from Hillsong United, as his walkout music, causing an eruption of chatter about the decade-old song from fans surprised by the choice as well as unfamiliar listeners newly discovering the track.
Although Garcia ultimately lost the fight, “Oceans” won a healthy streaming gain: the song rose 56% in daily streams from Saturday to Sunday, up to 360,000 streams, according to Luminate. That’s a nice boost for the winner of the Top Christian Song prize at the 2016 Billboard Music Awards, which spent a record 61 nonconsecutive weeks atop the Hot Christian Songs chart. – JL
Q&A: Alex Tear, VP Music Programming at SiriusXM + Pandora, on What’s Trending Up in His World
What’s been the most interesting pop trend over the first four months of 2023, in your opinion?
As we rolled into 2023, David Guetta & Bebe Rexha’s “I’m Good” sampled Eiffel 65’s “Blue,” and Metro Boomin with The Weeknd & 21 Savage have a chart-leading presence with “Creepin,” that’s maximizing Mario Winans’ 2004 hit [“I Don’t Wanna Know”]. We’ve now got several new sample-led entries at pop radio, from [songs that use] Haddaway’s “What Is Love” to La Bouche’s “Be My Lover” to Alice Deejay “Better Off Alone” to Fatboy Slim’s “Praise You.” What’s old is new, and we’ll keep close to audience reaction to amplify or minimize our latest artist/industry appreciation or short-cut for appeal to the masses.
We’re getting close to Song of the Summer territory. What are some tracks you’re keeping an eye on?
I feel we’re still a few rollercoaster clicks from reaching our song(s) of summer vision, but I do like the continued mass appeal movement with Pop Country artists finding their way at top 40. Although a remake, Luke Combs kills it with “Fast Car.” Kane & Katelyn Brown and Morgan Wallen continue to rise up the pop charts. No doubt, there’s more to be had! Let’s not forget Dan + Shay, who’ve had great success at mainstream pop and are currently climbing the chart with Charlie Puth [collaboration “That’s Not How This Works”]. We’re also embracing Avery Anna on HITS 1: her track “Self Love” is reacting well with our SiriusXM audience.
We’ve seen multiple years-old songs, from The Weeknd’s “Die For You” to Lady Gaga’s “Bloody Mary” to Miguel’s “Sure Thing,” push toward the top of the charts in recent months. How has that trend affected how you consider your programming?
These are all welcome additions that are in the moment of pop culture for one reason or another. We’ll continue to track fatigue with our SiriusXM listeners who will tell us enough is enough.
– Fill in the blank: the artist I’m most interested to see how the rest of their year plays out is ______.
First: so proud of SZA’s continued breakthrough. She’s been a force, but 2023 feels to have solidified her dominance. I’m keeping close to the continued K-Pop movement. XG’s “Left Right” & FIFTY FIFTY’s “Cupid” are topping Shazam and streaming very well. NewJeans is lurking, Stray Kids are making noise, and of course Blackpink had a solid 2022 U.S. pop presence. Let’s also keep a close watch on BTS’s Jimin, coming off a recent No. 1, and Jin, who’s climbing the U.S. charts. – JL
Season’s Gainings: Up in Smoke & Up in Streams
Whether they were celebrating the annual stoner holiday or unwinding from the blue check purge on Twitter, listeners unsurprisingly flocked to a variety of smoking- and weed-themed anthems this past 4/20. Among the bigger gainers were Sublime’s “Smoke Two Joints” (up 114% to 161,000 in official on-demand U.S. streams from April 19-20, according to Luminate), Rick James’ “Mary Jane” (up 92% to 142,000), Peter Tosh’s “Legalize It” (up 149% to 49,000) and Afroman’s “Because I Got High” (up 164% to 250,000). But if you were more concerned with the blaze outside your home than the blazing inside, you might’ve instead turned to Glass Animals’ “Heat Waves” – which, with temperatures spiking nationwide, rose 23% to nearly 7.1 million streams for the week ending April 20. – AU