Chart Beat
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Rosa Linn’s “Snap” crowns Billboard’s Top TV Songs chart, powered by Tunefind, for March 2023 after its appearance in Apple TV+’s new series Shrinking.
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 March 2023.
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“Snap” can be heard in Shrinking’s eighth episode, which premiered March 10. It was directed by Zach Braff, a previous collaborator of Bill Lawrence, who is one of the series’ co-creators and executive producers.
In March 2023, “Snap” received 13.3 million on-demand official U.S. streams and 3,000 downloads, according to Luminate. The synch sparked a modest boost for the song on the March 25-dated Alternative Digital Song Sales chart, where it re-entered at a new peak of No. 9.
It’s one of four songs from Shrinking that appear on the March 2023 survey. Fred again..’s “Dermot (see yourself in my eyes)” follows at No. 3 thanks to 597,000 streams.
The highest non-Shrinking appearance belongs to Faces’ “Ooh La La,” which enters at No. 2. Heard in the fourth episode of the first season of Amazon Prime Video’s Daisy Jones & the Six, the song earned 4.3 million streams and 1,000 downloads.
Daisy Jones also sports an appearance at No. 4 thanks to “Dancing Barefoot” by the Patti Smith Group, from the show’s premiere episode. It received 613,000 streams and 3,000 downloads, and it made a Billboard chart for the first time when it reached the Alternative Digital Song Sales chart, eventually peaking at No. 11 on the April 8 tally.
See the full top 10, also featuring music from Mayor of Kingstown, The Blacklist and Ted Lasso, below.
Rank, Song, Artist, Show (Network)1. “Snap,” Rosa Linn, Shrinking (Apple TV+)2. “Ooh La La,” Faces, Daisy Jones & the Six (Amazon Prime Video)3. “Dermot (see yourself in my eyes),” Fred again.., Shrinking (Apple TV+)4. “Dancing Barefoot,” Patti Smith Group, Daisy Jones & the Six (Amazon Prime Video)5. “Can’t Find My Way Home,” Blind Faith, Mayor of Kingstown (Paramount+)6. “Free,” Florence + the Machine, Shrinking (Apple TV+)7. “Modern Love,” David Bowie, Shrinking (Apple TV+)8. “Shame on You,” D Smoke, Mayor of Kingstown (Paramount+)9. “Chess,” KS Rhoads, The Blacklist (NBC)10. “Out of My Head,” Fastball, Ted Lasso (Apple TV+)
Ariana Grande took to TikTok to call out fans who have been commenting on her body and Britney Spears calls out a trainer who told her she needs to get her ‘Younger Body Back’. Rihanna bumps Katy Perry and becomes the most-followed woman on Twitter. Beyoncé breaks her own record as she notches her 34th week on the Hot 100 and more!
Welcome to Billboard Pro’s Trending Up newsletter, 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: Jack Black’s Bowser mega-ballad gives The Super Mario Bros. Movie a breakout hit, Taylor Swift’s Joe Alwyn-themed songs see a spike after news of their split emerges, Amazon turns a Queen deep cut into a best-seller and much more.
“Peaches” Ripe for a Chart Breakout: Jack Black’s Super Mario Bros. Movie Ballad Goes Viral
The new Super Mario Bros. Movie had a historic opening at the box office last weekend, grossing a staggering $204.6 million over its first five days of release. Though the movie has gotten mixed reviews, one part that’s been positively received has been the voice work of Jack Black as the villainous Bowser – an inspired bit of casting that may also be leading to a hit single in addition to the blockbuster movie.
Black’s “Peaches” debuted last week along with the movie, accompanied by a music video directed by Lyrical Lemonade’s Cole Bennett, featuring the entertainer (in the flesh) delivering a full-bodied performance of the piano ballad alone in a tower. The song, released via Universal Pictures subsidiary Back Lot Music, got off to a strong start in streaming and sales, and has only grown in the days since, as the movie has conquered theaters nationwide. It’s risen from 218,000 daily official on-demand U.S. streams and about 500 digital song sales on April 7 in its first full day of release to 961,000 and 1,000 in streams and sales on April 10 – gains of 342% and 104%, respectively, according to Luminate.
If the song continues to grow in those metrics (which seems likely, especially as the song continues to spread on TikTok), it should challenge for a spot on the Billboard Hot 100 within the next week or two. That would be a first for Jack Black as a solo artist – though he did hit No. 78 in 2006 as part of his band Tenacious D with the title theme to their movie The Pick of Destiny, and a second for the Super Mario film franchise, as Roxette reached No. 94 with “Amost Unreal,” from 1993’s less-successful Super Mario Bros. film adaptation. – ANDREW UNTERBERGER
Taylor Swift’s ‘Cornelia Street,’ ‘The 1’ & More Rise in Streams Following Breakup Reports
Taylor Swift fans were shocked last Saturday (Apr. 8) when reports emerged that the superstar and her longtime boyfriend, British actor Joe Alwyn, had broken up after more than six years together. Although the reportedly amicable split has yet to be confirmed by either Swift or Alwyn, fans reacted by revisiting some of Swift’s songs that are perceived to be about Alwyn, as well as touching upon heartbreak — resulting in notable streaming bumps in the days that followed.
The main beneficiaries in the Republic superstar’s catalog were “Cornelia Street” — the Lover album cut, which contemplates heartache through a nostalgic lens, rose 50% in U.S. on-demand daily streams from Apr. 8, the day that the news broke (158,000 streams, according to Luminate), to the following day (239,000 streams) — and Folklore opener “The 1,” which reflects on past love and spiked nearly 25% from 258,000 streams on Apr. 8 to 322,000 on Apr. 9. “London Boy,” the Lover track about a Tennessee woman falling for a British man, also posted a slight gain, up nearly 10% in streams from Saturday to Sunday.
“The 1” actually rose even higher on Monday, Apr. 10, to 393,000 streams that day, after astute Swifties pointed out that the superstar had swapped the song in to her Eras tour set list beginning in Arlington, Texas on Mar. 31. “The 1” took the place of “Invisible String” — another Folklore track that alludes to Swift’s extended romance with Alwyn, but through a more hopeful lens — perhaps hinting at the reported breakup a little over a week before news broke.
Swift’s Eras tour continues tomorrow night (Apr. 13) in Tampa, and fans are wondering if she’ll address the reports from the stage. In the meantime, they’re not only playing “Cornelia Street” more often — they’re also trying to piece together clues from her recent dinner outing near Cornelia Street in New York City. – JASON LIPSHUTZ
Queen’s “Cool Cat” Sinks Its Claws Into the Charts, Thanks to Amazon Commercial
Chances are you’ve seen it at least once while waiting to watch something else on streaming in the past months: a young girl frets about a mustache she can’t get rid of, before seeing a similar ‘stache on various pop culture icons – most importantly, Freddie Mercury – and decides to lean into it by ordering a yellow military jacket like the late Queen frontman used to wear. As she rocks the jacket in her classroom, she dances along to a Queen song on her headphones, gleefully oblivious to the rest of the world.
While many commercials might’ve opted for one of the band’s many universally recognizable classic rock anthems, Amazon Prime opted for a deeper cut for the ad: “Cool Cat,” the slinky penultimate track on the band’s 1982 album Hot Space. The strategy is paying off, at least for Queen: “Cool Cat” has been steadily rising in both sales and streams over the past month, with 478,000 official on-demand U.S. streams for the week ending April 6 (up 166% from three weeks earlier, according to Luminate) and 1,100 in digital sales (up 397%). It’s still below a number of their other perennials in weekly streams, but the song hits the top 10 of Billboard’s Digital Rock Song Sales chart this week (dated April 15) – their only song on the listing. – AU
‘Barbie’ Trailer Offers ‘Fun, Fun, Fun’ in the Sun
While Greta Gerwig’s upcoming Barbie movie, starring Margot Robbie and Ryan Gosling, promises to be a modern spin on the beloved Mattel doll with plenty of winks and 2023-friendly wordplay, the first full trailer for the film used a nearly 60-year-old pop classic as its soundtrack, albeit in a slightly new form. The Beach Boys’ timeless 1964 single “Fun, Fun, Fun,” licensed through Universal Music Publishing Group, was given a sped-up facelift – and as the trailer went viral, the track subsequently increased its daily streams.
Following the clip’s Apr. 4 release, daily streams of “Fun, Fun, Fun” rose from 37,000 on that day to 58,000 by the following Monday (Apr. 10), according to Luminate. Whether or not the song is used in the film, due out July 21, “Fun, Fun, Fun” — which climbed up to No. 5 on the Hot 100 in its heyday — should still get a nice summertime bounce in streams, when The Beach Boys can actually be played at the beach. – J.L.
Q&A: Bryant Pino, Director of Latin Music Programming at SiriusXM, on What’s Trending Up in His World
What Latin trends have defined the first quarter of 2023?
You have been hearing women dominate the music charts and pack the dancefloors. Dembow is now a definite must at any party or gathering. Artist experimenting with other genres has been refreshing. Lastly, collaborations is still a powerful music must-do.
A few new artists have become stars over the past few months. Are there any that are particularly intriguing to you?
I think this year has some great female acts. Young Miko: as an early supporter, I think her lyrical wordplay is refreshing and glad others are taking notice. PaoPao is another [good] bet that SiriusXM is highlighting as an artist to watch in our Next Wave music discovery concert series. Also being highlighted is Lennis Rodriguez, with her mix of Afro and tropical urban sounds. Plus, DannyLux is an act I am choosing to be part of this series, for his innovative and genre-defying emo-Mexican music. .
Last year was a watershed moment for Latin pop, thanks in part to the record-setting run of Bad Bunny. How will you remember 2022, and how do you think it has already impacted Latin music programming this year?
Collaborations! From Shakira collaborating with Karol G and Bizarrap, El Alfa with Black Eyed Peas, Camilo with Grupo Firme, Marshmello doing a merengue song with Manuel Turizo, Romeo Santos singing bachata with Justin Timberlake. The power of a good collaboration can break genre norms and open you up to a whole new demographic. Plus, artists tap into other genres, experimenting with EDM, Mexican, tropical, trap and dembow.
Fill in the blank: this summer, Latin music listeners will be obsessed with ________.
Concerts and festivals. As our personal preferences have become more open and or diverse, you will see more festivals and concerts cater to all types of music lovers. You will be able to enjoy Bad Bunny headlining a festival like Coachella, and hear Steve Aoki play with CNCO onstage at a dance festival. This summer, music will have infinite possibilities and outlets. – JL
Season’s Gainings: Put Me in Your Playlist, Coach
The past few weeks have brought the return of Major League Baseball to our lives, and not a moment too soon – especially if the streaming data for one of rock’s great baseball anthems is any indication. John Fogerty’s “Centerfield,” with its famous “Put me in, coach/ I’m ready to play today” and namechecks of Willie Mays, Ty Cobb and Joe DiMaggio, is up to 431,000 official on-demand U.S. streams for the week ending April 6, up from 329,000 three weeks before – a 31% gain, according to Luminate. With the NBA playoffs now around the corner, though, we’ll have to see if those timely streams end up jumping over to Pitbull and Kesha’s “Timber.” – AU
Xikers debut at No. 1 on Billboard‘s Emerging Artists chart (dated April 15), marking the South Korean 10-piece pop group’s first appearance on a Billboard survey, thanks to the act’s new EP, House of Tricky: Doorbell Ringing.
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The collection, released March 30 via KQ Entertainment, starts at No. 4 on World Albums and No. 75 on the Billboard 200 with 13,000 equivalent album units in its opening week (March 31-April 6), according to Luminate. Of that sum, 12,000 are from album sales, sparking the set’s No. 7 start on Top Album Sales.
Xikers is comprised of members Hunter, Hyunwoo, Jinsik, Junghoon, Junmin, Minjae, Seeun, Sumin, Yechan and Yujun.
South Korean singer Jisoo debuts at No. 2 on Emerging Artists, thanks to the BLACKPINK member’s first two solo songs: “Flower” and “All Eyes on Me.” “Flower” debuts at No. 2 on World Digital Song Sales and No. 10 on the all-genre Digital Song Sales chart with 6,000 downloads sold, while “All Eyes on Me” opens at No. 4 on World Digital and No. 19 on Digital Song Sales (3,000 sold).
The debuts mark Jisoo’s first solo entries on Billboard’s charts. BLACKPINK, with her as a member, has charted nine songs on the Billboard Hot 100, five of which have reached the top 40, and 22 on World Digital Song Sales, including nine No. 1s. The group has also notched a No. 1 album on the Billboard 200, Born Pink, last October.
The Emerging Artists chart ranks the most popular developing artists of the week, using the same formula as the all-encompassing Billboard Artist 100, which measures artist activity across multiple Billboard charts, including the Hot 100, Billboard 200 and the Social 50. (The Artist 100 lists the most popular acts, overall, each week.) However, the Emerging Artists chart excludes acts that have notched a top 25 entry on either the Hot 100 or Billboard 200, as well as artists that have achieved two or more top 10s on Billboard’s “Hot” song genre charts and/or consumption-based “Top” album genre rankings.
For all chart news, you can follow @billboard and @billboardcharts on both Twitter and Instagram.
The Contenders is a midweek column that looks at artists aiming for the top of the Billboard charts, and the strategies behind their efforts. This week (for the upcoming charts dated April 22), NF remains the biggest rapper you don’t hear on radio or RapCaviar, while an ‘00s nu-metal band plans a second Meteora strike on the Billboard 200.
NF, Hope (NF Real Music/Caroline): He hasn’t had a major crossover hit since 2017’s smash “Let You Down” peaked at No. 12 on the Billboard Hot 100, but NF remains one of the world’s biggest rappers with a cult following that remains just outside of mainstream view. His last album, 2019’s The Search, snuck past Chance the Rapper’s more hyped The Big Day for the Billboard 200’s top spot (with a six-figure first week), and the title track and advance single from follow-up album Hope debuted at No. 49 on the Hot 100 in March.
Aiding Hope’s hopes to follow its predecessor to No. 1: big sales numbers, boosted by a variety of physical variants. There’s a signed CD in his online store (just $5!), a standard Target-exclusive CD with a poster packaged inside, four deluxe CD/merch box sets (with a T-shirt, hat, long sleeve T or a hoodie and a CD housed in a box, respectively) and both a white vinyl LP and a standard black version. If he cracks six figures again, NF might be in the same ballpark as Morgan Wallen’s declining One Thing at a Time — but the 167,000 units that album moved in its fifth week at No. 1 is still a higher single-week number than any NF album has posted yet.
Linkin Park, Meteora (Warner/Machine Shop): Meteora was one of the biggest albums of 2003, debuting at No. 1 with over 800,000 in first-week sales, spawning massive hit singles like “Numb” and “Faint” and finishing as the No. 6 album of the Year-End Billboard 200. Next week, the album’s 20th anniversary reissue may drive it to its highest position on the chart since its release year.
The set has already garnered considerable attention for the advance release of “Lost,” a bonus track that the group recorded for Meteora with late Linkin Park lead singer Chester Bennington, whose No. 38 debut on the Hot 100 made it the group’s biggest chart hit in a decade. It’s one of several previously unreleased tracks found on the reissue, which is available in a deluxe three-CD edition, a four-LP vinyl box set, or a five-LP / four-CD super deluxe box set, and should help Meteora make a more explosive chart impact than most new albums.
Daniel Caesar, Never Enough (Republic): Acclaimed R&B singer-songwriter Daniel Caesar has yet to hit the Billboard 200’s top 10, but he’s getting closer: No. 25 with 2017 debut Freudian, then No. 17 with 2019’s Case Study 01. This year’s long-anticipated third album Never Enough has a chance to get him in that range, though it’s lacking any chart hits near the level of his breakout late-’10s hits “Get You” or “Best Part,” and certainly none in the same stratosphere as his appearance on Justin Bieber’s 2021 Hot 100-topper “Peaches.” Caesar does have a climbing Adult R&B Airplay hit in “Let Me Go” (No. 20 this week), as well as three different box sets exclusive to his web store, three different-colored vinyl variants and both standard and signed CDs available for purchase.
In the Mix
Ellie Goulding, Higher Than Heaven (Polydor): One of the U.K.’s most reliable hitmakers of the early ‘10s is back, with what she calls, in a very un-2023 way, her “least-personal” to date. “We didn’t want to write serious songs,” Goulding has said, “we wanted to write about silly things and dancing.” The album’s approach has been well-received critically, but has yet to generate the kind hits either side of the Atlantic that she enjoyed a decade ago.
Rae Sremmurd, Sremm 4 Life (Ear Drummer/Interscope): Speaking of Goulding: Her most recent top 40 Hot 100 hit was scored alongside Swae Lee, who was also a chart fixture of the late ‘10s — both solo and with brother Slim Jxmmi, as hip-hop duo Rae Sremmurd. The Brothers Rae have since fallen somewhat out of commercial favor, but they’re hoping a return to their Sremm album series (responsible for three straight top 10 albums on the Billboard 200 from 2015-18) will bring them back to the limelight. They get additional assistance on Sremm 4 from featured stars Future and Young Thug, as well as production from longtime gold-spinner Mike Will Made-It.
Luke Combs covers one song on his new LP, Gettin’ Old: Tracy Chapman’s “Fast Car.” The 1988 original, which Chapman wrote solely, won the Grammy Award for best female pop vocal performance and sparked her coronation as best new artist.
Combs is clearly getting fans up to speed on “Fast Car,” as his version cruises from No. 14 to No. 10 in its second week on Billboard’s streaming-, airplay- and sales-based Hot Country Songs chart (dated April 15), becoming his 19th top 10.
On the Billboard Hot 100, it zooms 44-32 in its second frame.
Combs’ interpretation drew 11.1 million official streams (up 27%) and sold 6,000 downloads in the United States March 31-April 6, according to Luminate.
(Chapman’s original was up 22% to 3 million in radio airplay audience and 5% to 2.5 million streams in that span.)
Gettin’ Old spends a second week at No. 2 on Top Country Albums, with 54,000 equivalent album units, after launching with 101,000 units.
Combs supporters who have been to his live shows won’t be surprised about his update of “Fast Car,” as it’s been a fan favorite among his setlists.
While the song isn’t a radio single, some country stations are giving it airplay, one being Audacy’s WPAW Greensboro-Winston Salem, N.C. “Luke’s take on ‘Fast Car’ is a gift to the original fans – the ones that instantly fell in love with him early on,” program director Clay Walker tells Billboard. “No doubt if you paid to see him in the clubs around North and South Carolina, you know that. Even though his version stays true to the Tracy Chapman original, he really is thanking his foundational fans with this.”
The song’s crossover appeal is also evident in SiriusXM’s support: Country channel The Highway is playing Combs’ cover, as is pop-focused TikTok Radio.
Combs isn’t the first artist to gas up a charted rendition of “Fast Car.” Jonas Blue’s version, featuring Dakota, hit No. 7 on Hot Dance/Electronic Songs, as well as No. 98 on the Hot 100, in 2016.
Those remakes mark the two that have hit the Hot 100 since Chapman took the original to No. 6 in August-September 1988. Until this week, the composition last ranked in the chart’s top 40 (at No. 39) on the list dated that Oct. 1 (as Bobby McFerrin’s “Don’t Worry, Be Happy” breezed to a second week at No. 1).
While country artists aren’t exactly known for redoing pop hits, a few have charted highly since the late ‘80s. Rascal Flatts’ repaved “Life is a Highway” reached No. 18 on Hot Country Songs in 2006, after Tom Cochrane’s original hit No. 6 on the Hot 100 in 1992.
Mark Chesnutt scored his most recent of eight Hot Country Songs leaders with his version of Aerosmith’s “I Don’t Want to Miss a Thing” in 1999. Aerosmith’s recording of the Diane Warren-penned ballad debuted atop the Hot 100 and dominated for four frames in 1998.
In the mid-‘90s, country artist John Michael Montgomery and pop/R&B vocal group All-4-One shared hits simultaneously: In 1994, “I Swear” was a Hot Country Songs No. 1 for the former and an 11-week No. 1 Hot 100 smash for the former. A year later, “I Can Love You Like That” became another Hot Country Songs No. 1 for Montgomery and a No. 5 Hot 100 hit for All-4-One.
Back to the late ‘80s, Rosanne Cash’s update of The Beatles’ “I Don’t Want to Spoil the Party” became her most recent of 11 Hot Country Songs No. 1s, in 1989. The Lennon-McCartney original reached No. 39 on the Hot 100 for the Fab Four in 1965 (as the B-side of “Eight Days a Week,” which hit No. 1).
Billboard has more than 200 different charts on its roster, encompassing numerous genres and formats.
While A-list artists often compete for a spot on the Billboard Hot 100 songs chart and Billboard 200 albums ranking, which track the most popular songs and albums of the week, respectively, up-and-coming talents typically start off on genre-specific lists.
Hundreds of artists chart their songs and albums on Billboard’s rankings each week, but these 10 appear on surveys for the first time (on the latest April 15-dated charts).
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Jisoo
The South Korean singer and BLACKPINK member makes her first solo appearance on Billboard’s charts thanks to her first two songs apart from the group: “Flower” and “All Eyes on Me” (YG/Interscope). The former debuts at No. 2 on World Digital Song Sales and No. 10 on Digital Song Sales (6,000 downloads sold March 31-April 6, according to Luminate), while the latter starts at No. 4 on World Digital Song Sales and No. 19 on Digital Song Sales (3,000 sold). Both songs also hit Billboard’s global listings: “Flowers” at No. 2 on both the Billboard Global 200 and Billboard Global Excl. U.S. charts and “All Eyes on Me” at No. 42 on Global Excl. U.S. and No. 78 on the Global 200. Jisoo concurrently enters at No. 2 on the Emerging Artists chart.
Luh Tyler
The 17-year-old Tallahassee-based artist’s debut mixtape My Vision, released March 31 via Motion Music/Atlantic Records, starts at No. 2 on the Heatseekers Albums chart with 7,000 equivalent album units. The up-and-coming rapper signed to Atlantic near the end of 2022.
xikers
The South Korean 10-piece group makes its chart arrival thanks to its new EP House of Tricky: Doorbell Ringing. The set, released March 30 via KQ Entertainment, debuts at No. 4 on World Albums and No. 75 on the Billboard 200 with 13,000 equivalent album units. Of that sum, 12,000 is from album sales, helping the collection also open at No. 7 on Top Album Sales. The group — which comprises Hunter, Hyunwoo, Jinsik, Junghoon, Junmin, Minjae, Seeun, Sumin, Yechan and Yujun — also launches at No. 1 on the Emerging Artists chart. The only other Korean acts to debut at No. 1 on Emerging Artists are BLACKPINK (in 2018), TOMORROW X TOGETHER (2019) and BTS members Suga (2021) and Jung Kook (2022).
Sam Barber
The 18-year-old country/folk/rock singer-songwriter and Missouri native makes his chart arrival with his single “Straight and Narrow.” The track, released via Lockeland Springs/Atlantic Records, debuts at No. 24 on Hot Rock Songs and No. 38 on Hot Rock & Alternative Songs with 2.1 million U.S. streams (up 397%). Barber initially went by Sam R Barber but dropped the “R” after signing to Atlantic last month.
Kid Culture
Kid Culture (real name Daniel Hackett) already has a number of charting entries as a producer, but he reaches Billboard’s charts as a recording artist for the first time thanks to his single “Keep It.” The track, released via Vol. I/Epic Records, opens at No. 39 on Rhythmic Airplay. Prior to “Keep It,” he co-produced Justin Bieber’s “Yummy” (No. 2 peak on the Hot 100 in 2020), as well as Polo G’s “Go Part 1” (No. 86, 2021) and Lil Mosey’s “Kamikaze” (No. 97, 2018) and was nominated for a Grammy in 2020 for his work on Cordae’s The Lost Boy. Kid Culture hails from Seattle and is signed to Epic Records.
6arelyhuman & kets4eki
The two artists each achieve their first career chart hit thanks to their collaboration “Hands Up!” The song, released via FabFantasy/Anuba Records, debuts at No. 20 on the Hot Dance/Electronic Songs chart with 959,000 official U.S. streams in the latest tracking week.
Matt & Mattingly’s Ice Cream Social
Las Vegas-based comedians/improvisers Matt Donnelly and Paul Mattingly each score their first chart entries with their album Hey Scoops (billed as Matt & Mattingly’s Ice Cream Social), on Cosmos Records. The set debuts at No. 9 on the Comedy Albums chart. Matt & Mattingly’s Ice Cream Social doubles as a podcast, on which Donnelly and Mattingly take on current events. Donnelly is also a co-host on Penn Jillette’s Penn’s Sunday School podcast and Mattingly co-hosts the Geek Shock Podcast and The Ugly Couch Show podcast.
Rebzyyx & hoshie star
The two artists team up on “All I Want Is You” and each score their first chart appearance. The song, released in February 2021 via last nite/Arista Records, debuts at No. 36 on Hot Dance/Electronic Songs with 608,000 official U.S. streams.
Paid Pat
The Memphis rapper notches his first chart entry thanks to his song “A Drop,” released via Brick Squad Monopoly Records. The track debuts at No. 12 on Rap Digital Song Sales and No. 17 on R&B/Hip-Hop Digital Song Sales with 1,000 downloads sold.
Musa Keys, Morravey & Logos Olori
All three artists achieve their first-ever chart placements, all on Billboard‘s U.S. Afrobeats Songs chart, thanks to their featured credits on tracks by Nigerian Afrobeats singer-songwriter DaVido. Musa Keys’ feature on “Unavailable” debuts at No. 8, Morravey’s credit on “In the Garden” starts at No. 18 and Logos Olori arrives on “Picasso” at No. 31. All three songs appear on DaVido’s new LP Timeless, released March 31 via DaVido Music Worldwide/RCA Records. The set debuts at No. 2 on World Albums and No. 37 on the Billboard 200 with 17,000 units.
Ellie Goulding is eyeing a slice of heaven — a U.K. chart double.
The English singer and songwriter leads the midweek chart for second week with “Miracle” (via Polydor), her throwback rave single with Calvin Harris, and her fifth studio set Higher Than Heaven heads-up the midweek albums survey.
If Higher Than Heaven holds its spot, Goulding will boast a fourth leader following debut Lights (from 2010), Halcyon (2012) and Brightest Blue (2020). The only LP to miss out was 2015’s Delirium, which peaked at No. 3.
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New at No. 2 on the Official Chart Update is Hope (EMI), the sixth studio album from U.S. rapper, singer-songwriter and producer NF. If Hope hangs in there, it’ll give NF (real name: Nathan John Feuerstein) a career best following 2019’s The Search (No. 7) and 2021’s Clouds (No. 12).
Following a 20th anniversary reissue of Linkin Park’s sophomore album Meteora (Warner Records), the LP is about to fire back into the top 5, at No. 3. The former leader contains previously-unreleased material featuring vocals from the late Chester Bennington, who died in 2017, aged 41.
Another fresh title on track for a top 5 berth is Daughter’s Stereo Mind Game (4AD). It’s new at No. 4 on the midweek chart, for what would be the indie folk trio’s highest-charting album to date and first top 10, eclipsing their previously charting efforts If You Leave from 2013 (No. 16 peak) and 2016’s Not to Disappear (No. 17).
Finally, Scottish singer and songwriter Lewis Capaldi is enjoying a sales bump following the release of his Netflix documentary How I’m Feeling Now (EMI). His chart-topping 2019 debut Divinely Uninspired to a Hellish Extent is set to lift 17-6.
All will be revealed when the OCC publishes its weekly charts on Friday (April 14).
Just maybe, a miracle can happen twice. That’s what Calvin Harris and Ellie Goulding will be hoping, as “Miracle” (via Columbia) leads the U.K. chart race for what would be a second week at No. 1.
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The throwback rave tune last Friday (April 7) climbed to the summit for the first time, a feat that saw Harris pass Elton John and Eminem on the list of artists with the most U.K. leaders (11), taking eighth place.
Goulding, meanwhile, equals Rita Ora and Geri Halliwell’s four No. 1s by a British female solo artist, and stands to snag a relatively rare chart double, should her new LP Higher Than Heaven debut atop the albums chart.
“Miracle” holds at No. 1 on the Official Chart Update, ahead of “People” (5k) by Afrobeats star Libianca, which is set to rise 4-2, for what would be its peak position. Ed Sheeran’s former leader “Eyes Closed” (Atlantic) is on track to complete the podium, holding at No. 3.
Based on midweek sales and streaming data published by the Official Charts Company, Drake is on course for the highest new entry with “Search & Rescue” (OVO/Republic Records). It’s new at No. 7 on the chart blast. If “Search & Rescue” holds its spot, the Canadian hip-hop star would earn a 38th U.K. top 10 single.
Also set for a top 40 splash is David Guetta, Anne-Marie and Coi Leray’s “Baby Don’t Hurt” (Parlophone). The EDM cut, a reimagining of Haddaway’s 1993 number “What Is Love,” is new at No. 25 on the chart blast.
And finally, U.S. country star Morgan Wallen is eyeing his first ever U.K. top 40 single with “Last Night” (EMI). The track, lifting from Wallen’s Billboard 200 chart champion One Thing At a Time, is on track for a No. 40 bow.
All will be revealed when the Official U.K. Singles Chart is published late Friday (April 14).
Singer-songwriter and producer Fred Jerkins’ “I Believe,” featuring Bishop Paul S. Morton, reaches No. 1 on Billboard’s Gospel Airplay chart (dated April 15).
The song, Jerkins’ third Gospel Airplay leader and Morton’s first, increased by 1% in plays March 31-April 6, according to Luminate.
The song was solely written and produced by Jerkins, who hails from Galloway, N.J.
“It feels so amazing to have achieved my third No. 1 as an artist on Billboard‘s chart,” says Jerkins. “Also, being able to share this with a legend like Bishop Paul Morton makes it extra special for me.”
Jerkins previously topped Gospel Airplay with “Patiently Praising,” for a week in January 2021, and “Victory,” featuring Last Call, for two frames in April 2019.
Morton’s first Gospel Airplay leader is among 11 appearances, starting in 2005. His lone additional top 10 is “Your Best Days Yet,” which reached No. 4 in 2013. (Also among his history on the chart: “Seasons Change,” with legend Aretha Franklin, hit No. 40 in 2005.)
In addition to his career in music, Morton is the founding bishop of Full Gospel Baptist Church Fellowship International in Atlanta, as well as overseer of Greater St. Stephen Ministries in New Orleans.
Notably, with “I Believe” reaching the Gospel Airplay pinnacle in its 47th week, it completes the longest trip to No. 1 since the chart started in March 2005. It passes two songs that each took 46 weeks to the top: Jonathan McReynolds’ “Make Room” led for a week in December 2019 and Donnie McClurkin’s “I Need You” reigned for a week in April 2017.
Maher’s Fourth Leader
On Billboard’s Christian AC Airplay chart, Matt Maher scores his fourth No. 1 with “The Lord’s Prayer” (up 9% in plays).
Maher previously ruled with “Alive & Breathing,” featuring Elle Limebear, for two weeks in July 2020; “Glory (Let There Be Peace),” for a week in January 2017; and “Because He Lives (Amen),” for four frames beginning in April 2015.