Chart Beat
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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.
Niall Horan’s “Science” paces Billboard’s Hot Trending Songs chart dated June 17, ahead of the song’s June 9 premiere as part of the One Direction member’s new album, The Show. Billboard’s Hot Trending charts, powered by Twitter, track global music-related trends and conversations in real-time across Twitter, viewable over either the last 24 hours or […]
Everything may be bigger in Texas, but Dickies Arena in Fort Worth is punching above its weight class.
The 14,000-capacity venue opened in 2019 amid a competitive Texas market. With the 20,000-capacity American Airlines Center less than 40 miles east and the San Antonio, Austin and Houston markets reachable within a few hours, the region is saturated with large venues to book big names. Still, Dickies Arena has managed to stand out as a major contender in its first full year of shows following the COVID-19 pandemic, ranking at No. 2 on Billboard Boxscore’s Top Venues (10,001-15,000 capacity) chart for the 2023 midyear report.
In the report, which is based on the touring period of Nov. 1, 2022-April 30, 2023, Dickies Arena grossed $40.1 million from 79 reported shows. Compared with the same period last year, as the touring business was still coming out of the pandemic, the venue nearly tripled the number of tickets sold (from 209,000 to 610,000) and grossed almost four times as much (up from $11.6 million). Even beyond its capacity limit, Dickies Arena out-grossed all but six venues in the 15,001-plus range, including American Airlines Center in Dallas.
Midyear Boxscore charts are based on figures reported to Billboard Boxscore. Eligible shows played between Nov. 1, 2022 and April 30, 2023.
“If you look at entertainment, there wasn’t really much on this side of the [Dallas-Fort Worth Metroplex],” says Dickies Arena president/GM Matt Homan, who notes that the drive between arenas can reach up to an hour-and-a-half with traffic. “What we’ve proven is that the market is large enough for American Airlines Center and Dickies Arena.”
While American Airlines Center is the larger of the two Metroplex arenas, the venue also has two home tenants (NBA team Dallas Mavericks and the NHL’s Dallas Stars) that occupy several dates on the calendar. Dickies Arena, however, only has the Fort Worth Stock Show and Rodeo, which runs from January to the first week of February, when concerts tend to be space. This year’s event brought in over $9 million from its 25 performances.
The Dickies Arena’s arrival and success run parallel to the city’s growing population. According to the U.S. Census Bureau, in 2022, Fort Worth had the largest numeric population gain of any large city in the United States, with 19,170 people joining its population of roughly 1 million — and the venue is focused on catering to the city’s varying interests. Country music is naturally a good fit for the arena, with two sellouts from George Strait ($9.9 million) in November marking its highest-grossing run of the midyear report, with two more scheduled for later this year. “It’s a great experience for fans to see [Strait] in such an intimate venue,” says Homan, “you’re not going to a baseball stadium with 60,000 or 40,000-plus seats, which we all know George could sell out in a heartbeat.”
Beyond country, the Dickies Arena’s Boxscore totals also included shows from the Eagles, Muse, New Edition and K-pop group Stray Kids, the lattermost moving more than $2.5 million in tickets sold. “Our K-pop merch sales have been great,” says Homan. “Our merch numbers are generally amongst the top three to five on the tour, based on numbers I’ve seen recently.” Rauw Alejandro’s sold-out show in April, which grossed over $1.5 million, was also the start of Homan’s focus on the Latin market. “Going into this year, the [Latin market] was my highest priority,” he says. The arena will welcome Peso Pluma, Banda MS, Christian Nodal and Grupo Frontera in 2023. “We’re starting to finally dip our toes into those markets. We want to make sure that we have something here for everyone and that we’re really representing the major city that we are.”
Roisee is officially a Billboard Hot 100-charting artist, as her new collaboration with Metro Boomin and A$AP Rocky, “Am I Dreaming,” debuts on the ranking (dated June 17) at No. 51. Explore See latest videos, charts and news See latest videos, charts and news The song appears on Metro Boomin’s soundtrack to Spider-Man: Across the […]
Take a look at Bad Bunny’s recent tour history, and you get a good sense of Latin’s rapid growth on the road.
When Billboard published the 2019 Midyear Boxscore Recap, Bad Bunny missed out on the then-10-position Top Tours ranking, scraping the bottom of the top 30 with $25.8 million, according to figures reported to Billboard Boxscore. In doing so, he scored the biggest Latin tour of the tracking period, covering shows between Nov. 1, 2018, and April 30, 2019.
Three years later, following the COVID-19 pandemic, Bad Bunny took himself – and his genre – to the top. He crowned the all-genre list in 2022, earning $123 million in the same November-April six-month window – the first time a Latin act has ever topped the ranking.
Midyear Boxscore charts are based on figures reported to Billboard Boxscore. Eligible shows played between Nov. 1, 2022 and April 30, 2023.
Now, Bad Bunny is in the midyear top 10 again in 2023 at No. 6 with $67.9 million, and he’s not alone. At No. 5, Daddy Yankee earned $72.5 million, marking the first time that two Latin artists have landed in the midyear top 10.
The top 10 Latin tours grossed a combined $295.1 million between November and April. That represents growth of 18.83% from last year, after already improving 101% from 2019.
While Bad Bunny and Daddy Yankee lead that growth with the three biggest Latin tours in Boxscore history, it doesn’t stop with the genre’s top headliners. See below to watch how the biggest Latin tours of the midyear reporting period have grown uniformly since 2019.
Each of the top 10 Latin tours is up — in both gross and attendance — from last year and 2019. This across-the-board growth applies to heritage stars such as Marc Anthony ($22.4 million) and Wisin y Yandel ($15.3 million) as well as newer headliners including Rauw Alejandro ($33.3 million) and Feid ($11.9 million).
Beyond the genre’s 19% growth in top-10 revenue, those shows’ attendance has grown by 48% as well. While last (mid)year’s biggest Latin tour (Bad Bunny) outgrossed this year’s (Daddy Yankee) by more than $50 million, the latter sold more than 100,000 tickets more than the former. Total attendance among the top 10 is 3.1 million, up from 2.1 million last year.
Beyond Latin, attendance is growing in R&B/hip-hop, pop and rock as well – which are up 44%, 43% and 16%, respectively. Despite the smaller bump, Rock remains No. 1 in both gross and attendance, with $539.1 million and 4.1 million tickets among its top 10 tours on the midyear recap.
Pop follows with $419.7 million and 3.8 million tickets. Further illustrating Latin’s gains, in 2019 the genre’s gross sales trailed pop by $350 million. This year, that lead has shrunk to $125 million.
Arena dates are on deck for Rauw Alejandro, Anuel AA and others for the rest of the year, while Enrique Iglesias, Ricky Martin and Pitbull will team for a tri-headline tour this fall. Karol G will play in select U.S. stadiums later this year, leveling up to unprecedented heights for Colombian acts.
As the genre’s biggest acts get bigger, its focus will grow wider as some of the biggest names in regional Mexican music join reggaeton and Latin-pop stars on the Boxscore charts. Eslabon Armado and Peso Pluma will separately enter the domestic arena circuit this year while their No. 1 duet continues to dominate Billboard’s global charts.