Chart Beat
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The Weeknd and Ariana Grande’s “Die for You” bounds from No. 6 to No. 1 on the Billboard Hot 100, after Grande joined for its remix. The song reigns after it was originally released on The Weeknd’s album Starboy in 2016, before it was revived in recent months thanks in part to interaction on TikTok, which helped spark new promotion to radio and streaming services.
The team-up marks each artist’s seventh Hot 100 No. 1 – and their second together, after “Save Your Tears” led in 2021, for two weeks, also after Grande was added on a remixed version.
Plus, Karol G and Shakira’s “TQG” soars onto the Hot 100 at No. 7, marking the former’s first top 10 and the latter’s sixth – and second this year, following a nearly 16-year break from the region. The collaboration is from Karol G’s new album Mañana Será Bonito, which debuts at No. 1 on the Billboard 200 albums chart, becoming the first all-Spanish-language leader by a woman in the list’s history.
The Hot 100 blends all-genre U.S. streaming (official audio and official video), radio airplay and sales data. All charts (dated March 11, 2023) will update on Billboard.com tomorrow (March 7). For all chart news, you can follow @billboard and @billboardcharts on both Twitter and Instagram.
Here’s a look at the coronation for “Die for You,” which becomes the 1,146th No. 1 since the Hot 100 began in August 1958.
Airplay, streams & sales: “Die for You,” released on XO/Republic Records, drew 81.1 million radio airplay audience impressions (up less than 1%) and 32.4 million streams (up 181%) and sold 14,000 (up 1,170%) Feb. 24-March 2, according to Luminate. It doubles up with the Hot 100’s top Streaming Gainer and Sales Gainer weekly awards.
The track blasts from No. 22 to No. 1 on the Streaming Songs chart (where it becomes Grande’s fourth leader and The Weeknd’s third); debuts at No. 3 on Digital Song Sales; and holds at No. 3 on Radio Songs, after two weeks on top.
The song was originally released by The Weeknd solo in 2016 on his album Starboy, with its recent resurgence sparked by interaction on TikTok (which does not presently contribute directly to Billboard’s charts). That buzz helped lead to the song’s current promotion to radio and streaming services. On Feb. 24, the song’s remix with Grande was released, with that version and an instrumental mix, both billed as by the tandem, discounted to 69 cents through March 2. Late on March 1, an a cappella version by the pair arrived, also for 69 cents. Those versions joined The Weeknd’s original solo version and its sped-up and instrumental mixes, also priced at 69 cents during the tracking week. (The instrumental versions, one billed as by The Weeknd and the other by The Weeknd and Grande, share audio and differ only in digital artwork; they were available during the tracking week only in the acts’ webstores.)
“Die” wouldn’t: As Starboy opened atop the Billboard 200 dated Dec. 17, 2016, “Die for You” concurrently debuted at No. 43 on the Hot 100. The song spent three weeks on the chart that month (and, promoted as a single to R&B/hip-hop and rhythmic radio, reached the Mainstream R&B/Hip-Hop Airplay, Adult R&B Airplay and Rhythmic Airplay charts in 2017-18). It returned to the Hot 100 dated Sept. 3, 2022. In October, it reached the Hot 100’s top 40 and this January it hit the top 10. It also topped the Pop Airplay chart for two weeks and reached a new No. 2 best on Rhythmic Airplay in January-February.
The song completes the second-longest trip to No. 1 on the Hot 100 in terms of time from a debut to scaling the summit – and the longest among non-holiday songs. Notably, The Weeknd and Grande claim two of the six longest such journeys.
Most Time to No. 1 on Hot 100, from Chart Debut:19 years, 11 months, 2 weeks, “All I Want for Christmas Is You,” Mariah Carey (2000-19; originally released in 1994, the carol ultimately first led 25 years after its release)6 years, 2 months, 3 weeks, “Die for You,” The Weeknd & Ariana Grande (2016-23)5 years, 8 months, 2 weeks, “When I’m With You,” Sheriff (1983-89)4 years, 8 months, 2 weeks, “Red Red Wine,” UB40 (1984-88; the pop/reggae classic and Sheriff’s love song above were revived, in part, by adventurous radio exec Guy Zapoleon)1 year, 2 months, “Heat Waves,” Glass Animals (2021-22)1 year, 1 month, “Save Your Tears,” The Weeknd & Ariana Grande (2020-21)(Additional research by Billboard senior charts and social manager Xander Zellner)
Meanwhile, “Die for You” tops the Hot 100 in its 31st total week on the tally, the fourth-longest such climb. “Heat Waves” reigned when it wrapped a record 59-week ascent.
The Weeknd & Grande’s No. 1s: The Weeknd and Grande earn a seventh Hot 100 No. 1 each. Here’s a recap of their leaders.
The Weeknd’s Hot 100 No. 1s:“Can’t Feel My Face,” three weeks at No. 1, beginning Aug. 22, 2015“The Hills,” six weeks, Oct. 3, 2015“Starboy,” feat. Daft Punk, one week, Jan. 7, 2017“Heartless,” one week, Dec. 14, 2019“Blinding Lights,” four weeks, April 4, 2020“Save Your Tears,” with Ariana Grande, two weeks, May 8, 2021“Die for You,” with Grande, one week to-date, March 11, 2023
Notably, Starboy now boasts two Hot 100 leaders, as “Die for You” joins the set’s title cut after over six years – a record for the longest time between No. 1 songs both originally released on a single album.
Ariana Grande’s Hot 100 No. 1s:“Thank U Next,” seven weeks at No. 1, beginning Nov. 17, 2018“7 Rings,” eight weeks, Feb. 2, 2019“Stuck With U,” with Justin Bieber, one week, May 23, 2020“Rain on Me,” with Lady Gaga, one week, June 6, 2020“Positions,” one week, Nov. 7, 2020“Save Your Tears,” with The Weeknd, two weeks, May 8, 2021“Die for You,” with The Weeknd, one week to-date, March 11, 2023
Grande simultaneously adds her milestone 20th Hot 100 top 10. “Die for You” became The Weeknd’s 16th top 10 – his first such hit was also with Grande, as their “Love Me Harder” reached No. 7 in November 2014.
Dominant duet partners: The Weeknd and Grande become the latest pair of solo acts that have teamed up for multiple Hot 100 No. 1s. Here’s a look at the acts that might want to consider making their collaborations more frequent, given their repeat success rates. (Drake and Rihanna have achieved the feat thanks to two pairings apiece.)
Acts That Have Teamed for Multiple Hot 100 No. 1s:The Weeknd & Ariana Grande: “Save Your Tears,” 2021; “Die for You,” 2023Drake & Future: “Way 2 Sexy” (Drake feat. Future & Young Thug), 2021; “Wait for U” (Future feat. Drake & Tems), 2022Rihanna feat. Drake: “What’s My Name?,” 2010; “Work,” 2016Eminem feat. Rihanna: “Love the Way You Lie,” 2010; “The Monster,” 2013-14Nelly Furtado & Timbaland: “Promiscuous” (Furtado feat. Timbaland), 2006; “Give It to Me” (Timbaland feat. Furtado & Justin Timberlake), 2007Jennifer Lopez feat. Ja Rule: “I’m Real,” 2001; “Ain’t It Funny,” 2002
‘Die for You’ deconstructed: Hit Songs Deconstructed, which analyzes the compositional traits of Hot 100 top 10s, notes that despite the 2016 arrival of “Die for You,” the song “fits in with the recent uptick of synth-heavy top 10s, which doubled between 2020 and 2022 to nearly one-quarter of such songs, and the continued popularity of R&B, which has held steady in half of all top 10s over the past two years.”
Speaking of R&B …
No. 1 R&B/hip-hop: “Die for You” concurrently hits No. 1 on Billboard’s Hot R&B/Hip-Hop Songs and Hot R&B Songs charts, which use the same methodology as the Hot 100. On Hot R&B/Hip-Hop Songs, The Weeknd adds his eighth leader and Grande achieves her first. On Hot R&B Songs, The Weeknd claims his record-extending 11th No. 1 (dating to the chart’s 2012 start) and Grande notches her first.
Miley Cyrus’ “Flowers” descends to No. 2 after spending its first six weeks on the Hot 100 at No. 1. Still, it tops Radio Songs for a third week, up 7% to 102.1 million in audience. It’s the first song to draw over 100 million in reach since Adele’s “Easy on Me” (101.2 million; Jan. 22, 2022) and logs the highest sum since The Weeknd’s “Blinding Lights” posted six such weeks (reaching a high of 114.6 million) in April-May 2020.
SZA’s “Kill Bill” slips to No. 3 on the Hot 100 after seven weeks at its No. 2 high – although it takes top Airplay Gainer honors, up 13% to 81 million in audience.
PinkPantheress and Ice Spice’s “Boy’s a Liar, Pt. 2” retreats to No. 4 on the Hot 100 from its No. 3 best; Morgan Wallen’s “Last Night” holds at No. 5, after reaching No. 3, as it leads the multi-metric Hot Country Songs chart for a fourth week; and Metro Boomin, The Weeknd and 21 Savage’s “Creepin’” backtracks 4-6, after hitting No. 3.
Karol G and Shakira’s “TQG” charges onto the Hot 100 at No. 7, with 29 million streams, 4.6 million in airplay audience and 7,000 sold. The song is from Karol G’s album Mañana Será Bonito, which debuts at No. 1 on the Billboard 200, making history as the first all-Spanish-language leader by a woman.
The track is Karol G’s first Hot 100 top 10 and Shakira’s sixth – and second this year, after her and Bizarrap’s “Bzrp Music Sessions, Vol. 53” debuted at its No. 9 peak in January, following her nearly 16-year absence from the region, since “Beautiful Liar,” with Beyoncé, rose to No. 3 in April 2007.
While Shakira’s lengthy break from the Hot 100’s top 10 only to return with two such hits in relatively quick succession is rare, it’s not unprecedented: Elton John went over 24 years after 1998 before revisiting the tier with “Cold Heart (Pnau Remix),” with Dua Lipa (No. 7, 2021), and “Hold Me Closer,” with Britney Spears (No. 6, 2022). Plus, Billboard deputy editor Andrew Unterberger shouts out Santana’s wait of over 28 years after 1971 before bounding back with two No. 1s in 1999-2000 – “Smooth,” featuring Rob Thomas, and “Maria Maria,” featuring The Product G&B – along with two more top 10s in 2002-03. (All such examples reflect acts teaming with artists who followed in their footsteps, capitalizing on multi-generational appeal.)
“TQG” concurrently launches at No. 1 on the multi-metric Hot Latin Songs chart, where it’s Karol G’s sixth leader, all since 2018, and fellow Colombian Shakira’s 13th, with her run having begun in 1998.
Elsewhere in the Hot 100’s top 10, Sam Smith and Kim Petras’ “Unholy” falls 7-8, after it ruled for a week in October; Taylor Swift’s “Anti-Hero” dips 8-9, following a personal-best eight weeks at No. 1 in November-December; and Beyoncé’s “Cuff It” falls 9-10, after hitting No. 6.
Again, for all chart news, you can follow @billboard and @billboardcharts on both Twitter and Instagram and all charts (dated March 11), including the Hot 100 in its entirety, will refresh on Billboard.com tomorrow (March 7).
Luminate, the independent data provider to the Billboard charts, completes a thorough review of all data submissions used in compiling the weekly chart rankings. Luminate reviews and authenticates data. In partnership with Billboard, data deemed suspicious or unverifiable is removed, using established criteria, before final chart calculations are made and published.
Miley Cyrus’ “Flowers” (via Columbia) remains the single to beat in the U.K., as it takes an early lead in the chart race.
“Flowers” powered to a seventh consecutive No. 1 when the Official U.K. Singles Chart was published last Friday (March 3), and it’s making ground on its bid for an eighth.
Based on sales and streaming data captured from the first 48 hours of the chart week, “Flowers” is out front, with PinkPantheress’ “Boy’s a liar” (Warner Records) less than 3,000 chart sales behind in second place, the Official Charts Company reports.
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“Boy’s a liar” has logged eleven weeks on the chart — and counting — but has never reached the summit.
Don’t expect “Flowers” to wilt anytime soon. A “demo” version dropped last Friday ahead its hotly anticipated parent album, Endless Summer Vacation, due out this Friday (March 10).
After flying 37-4 on the latest chart, the Weeknd’s 2016 number “Die For You” (Republic Records/XO) is on track for another peak position. Fueled by a new cut featuring Ariana Grande, the track lifts 4-3 on the First Look survey.
Further down the chart blast, Afrobeats stars Libianca could finally enter the top 10 with “People” (5K), up 11-10, while the title track from Pink’s chart-leading new album Trustfall (RCA) is on the rise, set for a boost 14-11. Trustfall album track “Never Gonna Not Dance Again” is hovering around the U.K. top 20, up 22-20 on the early tally.
Finally, two British singer-songwriters are chasing new chart highs. Mimi Webb’s “Red Flags” (Epic) is set to gain 17-13, while Mae Stephens “If We Ever Broke Up” (EMI) could improve 20-19.
All will be revealed when the Official U.K. Singles Chart is published Friday (March 10).
After seven weeks, nothing and no one can cut down Miley Cyrus’ “Flowers” (via Columbia) in the U.K.
“Flowers” stays put for a seventh consecutive No. 1 on the Official U.K Singles Chart, published March 3. It’s still the most streamed song in the market, according to the Official Charts Company, where it racks-up another 5.2 million streams.
With its reign heading towards two full months, “Flowers” becomes the longest-running No. 1 by a female solo artist in the U.K. since Adele’s “Easy On Me,” which logged eight non-consecutive weeks at the summit in 2021 and 2022.
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The all-time leader among solo female artists is Tones And I, the former busker from Australia whose “Dance Monkey” ruled for 11 weeks in 2019.
With “Flowers” digging in for another title, PinkPantheress must make-do with another stint at No. 2 for “Boy’s a liar” (Warner Records).
Sparks fly for the Weeknd, as the Canadian R&B star’s 2016 track “Die For You” (Republic Records/XO) roars into the top 10 for the first time, thanks to the release of a new cut featuring Ariana Grande. It’s up 37-4, for Abel Tesfaye’s 14th U.K. top 10 hit.
U.S. rapper SuperStar Pride (real name: Cadarrius Pride) earns the highest new release in the U.K. this week, with his breakthrough independent release “Painting Pictures” (via SuperStar Pride). Sampling Faith Evans’ “Soon As I Get Home,” it’s new at No. 33 on the latest tally, for SuperStar Pride’s U.K. chart debut.
Finally, Brighton, England-based pop newcomer Caity Baser enjoys her first U.K. top 40 single with the viral number “Pretty Boys” (EMI/Chosen Music), soaring 91- 35, while SZA scores a fourth top 40 appearance from her hit sophomore album SOS, as “Snooze” (RCA/Top Dawg) gets the wake-up call, lifting 47-40. SOS also yielded “Kill Bill” (currently at its peak position of No. 3), “Shirt” (No. 17) and “Nobody Gets Me” (No. 27).
There are no banana peels for Gorillaz, as the virtual group swings to No. 1 on the U.K. chart with Cracker Island (via Parlophone).
Gorillaz’ eighth and latest album had led at the midweek stage, and it goes on to complete the chart race in first place.
Fronted by Blur’s Damon Albarn and Tank Girl artist Jamie Hewlett, the band now has seven top 10 appearances on the Official U.K. Albums Chart, and two leaders, including 2005’s Demon Days.
Cracker Island also reigns over the Official Vinyl Albums Chart, as the most-purchased record on wax in the U.K., the Official Charts Company reports.
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Arriving at No. 3 on the latest all-genres survey, published March 3, is Good Riddance (Interscope), the debut full-length LP from Los Angeles-born singer and songwriter Gracie Abrams.
Also new to the latest tally is Adam Lambert’s fifth studio album High Drama (EastWest/Rhino). It drops in at No. 5, for the U.S. pop star’s second solo top 10 appearance and career-best chart position.
Lambert’s previous solo best is a No. 8 for The Original High from 2015, though his Live Around The World LP with Queen went to No. 1 in 2020.
Obey Robots, the duo of Laura Kidd (Penfriend, She Makes War) and Ned’s Atomic Dustbin member Gareth “Rat” Pring, nab a top 20 with One in a Thousand (My Big Sister Recordings). It’s new at No. 14
Further down the list, U.S. rapper and producer Yeat bags his first U.K. Albums Chart appearance with Aftërlyfe (No. 20 via Geffen); London rockers Shame scoop a third top 40 with Food for Worms (No. 21 via Dead Oceans); Scottish singer-songwriter Callum Beattie enjoys a career peak with Vandals (No. 22 via 3 Beat/AATW); Manchester rock act The Slow Readers Club earn a fourth top 40 with Knowledge Freedom Power (No. 29 via Velveteen); and Texas-based singer and rapper Don Toliver delivers a third top 40 with Love Sick (No. 36 via Atlantic).
Karol G’s Mañana Será Bonito makes an unprecedented splash on the Billboard 200 albums chart (dated March 11), as the set debuts atop the tally. It’s both the first No. 1 for the artist and the chart’s first No. 1 all-Spanish-language album by a female artist.
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Previously, only two all-Spanish albums led the list, both by Bad Bunny (Un Verano Sin Ti in 2022 and El Ultimo Tour del Mundo in 2020).
(Mañana is effectively an all-Spanish-language effort, save for a handful of English lyrics by guest artist Sean Paul on one track.)
Mañana earned 94,000 equivalent album units in the U.S. in the week ending March 2, according to Luminate. Its starting sum was largely powered by streaming activity.
Also in the top 10 of the new Billboard 200, Gorillaz collect their sixth top 10-charting set with the No. 3 debut of Cracker Island, Yeat achieves his third top 10 with the No. 4 bow of AfterLyfe and Don Toliver nabs his third top 10, as well, with the No. 8 arrival of Love Sick. Plus, The Weeknd’s former No. 1 Starboy returns to the top 10 for the first time since 2017 (climbing 14-9), following the release of a new remix for the set’s resurgent “Die for You.”
The Billboard 200 chart ranks the most popular albums of the week in the U.S. based on multi-metric consumption as measured in equivalent album units, compiled by Luminate. Units comprise album sales, track equivalent albums (TEA) and streaming equivalent albums (SEA). Each unit equals one album sale, or 10 individual tracks sold from an album, or 3,750 ad-supported or 1,250 paid/subscription on-demand official audio and video streams generated by songs from an album. The new March 11, 2023-dated chart will be posted in full on Billboard‘s website on March 7. For all chart news, follow @billboard and @billboardcharts on both Twitter and Instagram.
Of Mañana’s 94,000 equivalent album units earned, SEA units comprise 83,000 (equaling 118.73 million on-demand official streams of the set’s 17 tracks), album sales comprise 10,000 and TEA units comprise 1,000. The album’s sales were largely powered by its digital download album (8,500), though there was a CD available in limited quantities, selling about 1,500 copies. The digital album was also offered in two alternative cover variants on Karol G’s official webstore.
Mañana logs the largest week, by equivalent album units earned, for a Latin album by a woman since the chart began measuring by units in December of 2014. (Latin albums are defined as those that have hit or are eligible for Billboard’s Top Latin Albums chart.) Further, as Mañana generated 118.73 million official on-demand streams for its songs, the set registers the biggest streaming week ever for a Latin album by a woman.
Mañana is also the first Latin album by a woman to reach No. 1 on the Billboard 200 since 1995, when Selena’s posthumously-released, mostly-Spanish effort Dreaming of You topped the list for one week. (The 13-song Dreaming album has six tracks in Spanish, five in English and two duets that blend English and Spanish.)
Only three mostly-non-English-language albums by women have reached No. 1 on the Billboard 200 – the all-Spanish Mañana, Dreaming of You and The Singing Nun’s all-French-language self-titled album in 1963.
Karol G made her Billboard chart debut in 2016 and has been a force on Billboard’s Latin genre charts ever since, notching 17 top 10 hits on the Hot Latin Songs chart – including five No. 1s (through the most recently published chart, dated March 4). On the Top Latin Albums list, she’s previously logged a trio of top two-charting sets, including one No. 1, her previous release, KG0516, in 2021.
Mañana is the fourth charting album for Karol G on the all-genre Billboard 200, but first to reach the top 10. She previously visited the list with KG0516 (No. 20 in 2021), Ocean (No. 54 in 2019) and Unstoppable (No. 192 in 2017). Preceding the release of the new album, Karol had logged five top 40-charting hit songs on the all-genre Billboard Hot 100, but with three of them coming in 2022: “Mamiii,” with Becky G (No. 15), “Provenza” (No. 25) and “Gatubela,” with Maldy (No. 37). Both “Mamiii” and “Provenza” became Karol’s first top 10-charting hits on the all-genre Streaming Songs chart, reaching Nos. 5 and 10, respectively. (Both “Provenza” and “Gatubela” are included on Mañana.)
SZA’s SOS falls to No. 2 after 10 nonconsecutive weeks atop the Billboard 200, earning nearly 87,000 equivalent album units (down less than 1%).
With Karol G’s Mañana replacing SZA’s SOS at No. 1, it’s the first time a woman has replaced another woman atop the list in over a year. It last happened when a trio of leading ladies traded off the top spot from Nov. 20, 2021-Dec. 4, 2021. Summer Walker’s Still Over It debuted at No. 1 on the on Nov. 20 chart, Taylor Swift’s Red (Taylor’s Version) then opened atop the list on Nov. 27, and Adele’s 30 bowed at No. 1 on the Dec. 4 chart.
Gorillaz score their sixth top 10-charting effort on the Billboard 200 as Cracker Island arrives at No. 3 with 64,500 equivalent album units earned. Of that sum, album sales comprise 48,500 (the top-selling album of the week, debuting at No. 1 on Top Album Sales), SEA units comprise 15,500 (equaling 20.39 million on-demand official streams of the set’s tracks) and TEA units comprise 500. The star-studded Cracker Island features guest turns from Bad Bunny, Beck, Bootie Brown, Stevie Nicks, Tame Impala and Thundercat, among others. The album was initially released on Feb. 24 as a 10-track standard edition across physical and streaming formats, along with an 11-track digital retail and streaming edition. On Feb. 27, a 15-track digital and streaming deluxe version was released, including bonus tunes with De La Soul and Del the Funky Homosapien.
Cracker Island was preceded by a pair of top 20-charting hits on the Alternative Airplay chart – the title track, featuring Thundercat (No. 2), and “New Gold,” featuring Tame Impala and Bootie Brown (with the latter rising to a new high of No. 16 on the most recently published chart, dated March 11).
Rapper Yeat logs his third top 10 on the Billboard 200 as AfterLyfe debuts at No. 4 with nearly 55,000 equivalent album units earned. Of that sum, SEA units comprise the vast majority – about 54,500 (equaling 78.42 million on-demand official streams of the set’s tracks).
Swift’s former No. 1 Midnights falls 3-5 with just over 48,000 equivalent album units (down 10%), Morgan Wallen’s chart-topping Dangerous: The Double Album dips 5-6 with nearly 46,000 units (up 5%) and Metro Boomin’s former leader Heroes & Villains falls 4-7 with 42,000 units (down 10%).
Don Toliver notches his third top 10 on the Billboard 200 as Love Sick starts at No. 8 with 40,500 equivalent album units earned. Of that sum, SEA units comprise 39,500 (equaling 51.23 million on-demand official streams of the set’s tracks), album sales comprise nearly 1,000 and TEA units comprise a negligible sum. The album was initially released as a 16-track standard set on Feb. 24. On Feb. 28, a deluxe edition of the album with four additional tracks (including one featuring Travis Scott) was released.
The Weeknd’s former No. 1 Starboy climbs back to the top 10 for the first time since 2017 (its release year), as the set steps 14-9 with just over 40,000 equivalent album units earned (up 73%). The album’s rise comes following the Feb. 24 release of a new Ariana Grande-assisted remix of the set’s revived hit single “Die for You.”
Bad Bunny’s chart-topping Un Verano Sin Ti rounds out the new top 10, falling 6-10 with 38,000 equivalent album units earned (down 5%).
Luminate, the independent data provider to the Billboard charts, completes a thorough review of all data submissions used in compiling the weekly chart rankings. Luminate reviews and authenticates data. In partnership with Billboard, data deemed suspicious or unverifiable is removed, using established criteria, before final chart calculations are made and published.
Morgan Wallen’s new album One Thing at a Time is off to a robust start in the United States. The country set’s 36 songs generated 101 million on-demand official audio streams in the U.S. on the album’s release day of March 3, according to initial reports to data tracking firm Luminate, whose information powers Billboard’s weekly charts.
For context, the largest U.S. streaming week for a country album is the first week of Taylor Swift’s Red (Taylor’s Version), which collected 303.23 million on-demand audio and video official streams for its 30 tracks (in its first week, ending Nov. 18, 2021). The second-largest streaming week for a country set is the debut frame of Wallen’s last album, Dangerous: The Double Album, which logged 240.18 million clicks for its 30 songs in its debut week, ending Jan. 14, 2021.
In addition, One Thing at a Time sold over 60,000 copies on its first day, mostly through digital album purchases. The set was issued only in three retail-available editions: a digital album (both clean and explicit) and a double-CD (explicit only). One Thing at a Time has yet to be released on vinyl, unlike Dangerous in its first week, when it sold 6,000 copies.
News of further initial sales and streaming-and-track-equivalent activity for One Thing at a Time, as provided by Luminate, will be reported in the coming days.
One Thing at a Time was preceded by the release of nine songs from the album, going back as far as April of 2022. Four of those tunes topped Billboard’s Hot Country Songs chart: “Don’t Think Jesus,” “Thought You Should Know,” “You Proof” and “Last Night,” the lattermost of which has reigned for three weeks running (through the most recently published March 4-dated ranking).
One Thing at a Time is Wallen’s first album since Dangerous: The Double Album, which debuted atop both the Top Country Albums chart and the all-genre Billboard 200. On the former, it has spent a record-breaking 96 weeks at No. 1, while on the latter, it racked up 10 weeks (all consecutive) on top. It also has notched 108 nonconsecutive weeks in the top 10 on the Billboard 200 (through the most recently published list, dated March 4) – the most weeks in the region among any album by a single artist in the chart’s history.
Dangerous closed 2021 as the year-end No. 1 album on the Billboard 200, and the most popular album of the year in the U.S., as measured by equivalent album units by Luminate.
Luminate’s current tracking week ends at the close of business on Thursday, March 9. One Thing at a Time’s final first-week numbers are expected to be announced on Sunday, March 12, along with its debut position on the multimetric Billboard 200 albums chart (dated March 18). If One Thing at a Time debuts at No. 1 on the Billboard 200, it will mark Wallen’s second chart-topping set, following Dangerous.
The Billboard 200 chart ranks the most popular albums of the week in the U.S. based on multi-metric consumption as measured in equivalent album units, compiled by Luminate. Units comprise album sales, track equivalent albums (TEA) and streaming equivalent albums (SEA). Each unit equals one album sale, or 10 individual tracks sold from an album, or 3,750 ad-supported or 1,250 paid/subscription on-demand official audio and video streams generated by songs from an album. For all chart news, follow @billboard and @billboardcharts on both Twitter and Instagram.
Emilia, Big One and Callejero Fino’s “En La Intimidad” ascends to No. 1, after two weeks in the top 10, on the Billboard Argentina Hot 100 chart (dated Feb. 25). The song was released Feb. 1 through Fifty One. The song sends Luck Ra’s “Ya No Vuelvas,” featuring La K’Onga and Ke Personajes, to No. 4 after its one week on top.
It’s the first champ for Emilia, Big One and Callejero Fino, who have all reached the top 10 in the past before with at least one song. For Big One, the new leader arrives after he scored his first top 10 with first entry “Perfecta,” with Rusherking and Dread Mar (No. 6 high), last October.
Emilia, meanwhile, secured the No. 2-peaking “Cuatro Veinte” in April 2022. It became her only entry as a soloist, unaccompanied by another act, to reach the upper tier among her eight total top 10s.
As Callejero Fino claims his first No. 1 with “En La Intimidad,” it bests “Tu Turrito,” with Rei, which peaked at No. 3 last August.
Further, Bizarrap and Shakira’s “Bzrp Music Sessions, Vol. 53″ climbs 3-2, while TINI, La Joaqui and Steve Aoki’s “Muñecas” ascends 4-3. Plus, Bm’s “M.A (Mejores Amigos)” holds at No. 5 for a second week.
The week’s Greatest Gainer honors goes to Tini’s “Cupido,” which rockets up the chart 52-6, the biggest jump within the first two months of 2023. Plus, the Argentinian adds two new entries to her Billboard Argentina career count, a total of 30, as “Las Jordans” and “Te Pido” open at No. 53 and No. 58, respectively. Both songs stem from her latest Cupido album which debuts at No. 8 on Billboard’s Latin Pop Albums chart (dated March 11).
Elsewhere, Duki’s “Si Me Sobrara El Tiempo” scores the Hot Shot Debut of the week with a No. 27 start.
Lastly, three other songs debut this week, starting with Milo J’s “Rara Vez” at No. 61, following with Marama and Rodrigo Tapari’s “Dame un Besito” at No. 67, while Marc Anthony’s clocks his third chart entry as “La Fórmula,” with Maluma bows at No. 79.
Morgan Wallen’s “Thought You Should Know” becomes the first song of 2023 to rule Billboard‘s Country Airplay chart for three weeks, as it extends its reign on the March 11-dated survey. In the tracking week ending March 2, it gained by 1% to 34.9 million impressions, according to Luminate.
Wallen co-authored the track with Nicolle Galyon and Miranda Lambert. It’s from Wallen’s 36-song album One Thing at a Time, released Friday (March 3).
In a press release about the new LP, Wallen said: “I just try to tell it how it is – the good, the bad, the love, the heartbreak. That’s all I know how to do. My hope is that this album makes my fans proud; makes ’em laugh, smirk, cry, and think – just like it did for me.”
To celebrate the set’s arrival, Wallen is headlining a free show at Nashville’s Bridgestone Arena on Friday night.
Notably, of the 29 titles to ascend to the Country Airplay summit in 2022, only five dominated for three weeks or more – and two were by Wallen: “Wasted on You” (three weeks, beginning July 2) and “You Proof” (a record 10, starting Oct. 15). The others were: Jason Aldean’s “Trouble With a Heartache” (three, May 28); Scotty McCreery’s “Damn Strait” (three, July 23); and Cole Swindell’s “She Had Me at Heads Carolina” (four, Sept. 17).
Concurrently, Wallen’s “One Thing at a Time,” his newest single at country radio, rises 37-36 on Country Airplay (3.4 million impressions, up 21%). “Last Night,” also from One Thing at a Time, jumps 47-41 (2.2 million, up 51%). The latter is being promoted to pop radio and climbs 40-34 on the Pop Airplay chart.
Meanwhile, among Wallen’s eight Country Airplay No. 1s, half have now led for three weeks or more. Prior to “Thought,” “Proof” and “Wasted,” he reigned for three weeks in June 2019 with “Whiskey Glasses.”
All charts dated March 11 will update on Billboard.com Tuesday, March 7.
Death Cab for Cutie collects its eighth No. 1 on Billboard’s Adult Alternative Airplay chart, as “Pepper” jumps to the top of the ranking dated March 11.
It’s the Ben Gibbard-fronted band’s second No. 1 in a row, following the eight-week ruler “Here to Forever,” which led in August-October 2022. The act previously linked leaders in back-to-back visits with “Gold Rush” (eight weeks at No. 1, 2018) and “Northern Lights” (three, 2019).
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The group first led Adult Alternative Airplay in 2005, when “Soul Meets Body” claimed the top spot for 10 frames. It reigned again with “I Will Possess Your Heart (five weeks, 2008), “You Are a Tourist” (eight, 2011) and “Black Sun” (two, 2015).
With eight leaders, Death Cab for Cutie slots into a tie for the fifth-most in the Adult Alternative Airplay chart’s 27-year history, alongside John Mayer. Coldplay and U2 lead all acts with 13 No. 1s apiece.
Most No. 1s, Adult Alternative Airplay:13, Coldplay13, U211, Dave Matthews (solo and with Dave Matthews Band)11, Jack Johnson8, Death Cab for Cutie8, John Mayer7, Counting Crows7, R.E.M.7, Sheryl Crow7, The Black Keys
Concurrently, “Pepper” pushes 13-12 on Alternative Airplay. On the all-rock-format, audience-based Rock & Alternative Airplay chart, the song lifts 20-19 with 1.8 million audience impressions (Feb. 24-March 2), up 3%, according to Luminate.
“Pepper” is the second single from Asphalt Meadows, Death Cab for Cutie’s 10th studio album. The set debuted at No. 4 on Billboard’s Top Alternative Albums chart dated Oct. 1, 2022, and has earned 46,000 equivalent album units to date.
All charts dated March 11 will update on Billboard.com Tuesday, March 7.
Bad Omens score their first Billboard airplay chart No. 1 with “Just Pretend,” which jumps to the top of the March 11-dated Mainstream Rock Airplay survey.
“Pretend” crowns the list, up from No. 3, in its 27th week on the tally. It wraps the fourth-longest trip to No. 1 in the chart’s 42-year history; Trapt’s “Headstrong” leads all songs with 40 weeks from its debut to its first week atop the ranking.
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The last song to take as long as “Pretend” was Young Guns’ “Bones,” which ruled in its 31st week in 2013.
Longest Trips to No. 1, Mainstream Rock Airplay:
40 weeks, “Headstrong,” Trapt (2003)
31, “Bones,” Young Guns” (2013)
28, “Paralyzer,” Finger Eleven (2007)
27, “Just Pretend,” Bad Omens (2023)
26, “Masterpiece,” Motionless in White” 2022)
25, “S.O.S. (Sawed Off Shotgun),” The Glorious Sons (2019)
25, “Tired,” Stone Sour (2014)
Bad Omens’ first Mainstream Rock Airplay No. 1 follows three previous appearances. The band first charted with “Limits” in 2020 (No. 19 peak), followed by “Never Know” (No. 25, 2021) and its first top 10, “Like a Villain” (No. 10, 2022).
The Richmond, Va., four-piece is the first act to earn a first Mainstream Rock Airplay No. 1 in 2023. The last initial leader was Motionless in White‘s “Masterpiece” last October.
Concurrently, “Pretend” bullets at No. 31, after reaching No. 30 the previous week, on Alternative Airplay. On the all-rock-format, audience-based Rock & Alternative Airplay chart, it rises 7-5 with 3.6 million audience impressions (Feb. 24-March 2), up 10%, according to Luminate.
The song has spent 11 weeks at No. 1 on the multi-metric Hot Hard Rock Songs chart. On the latest survey (dated March 4), it ranked at No. 3; in addition to its radio airplay, “Pretend” earned 2.3 million official U.S. streams and sold 1,000 downloads in the Feb. 17-23 tracking week.
“Pretend” is the second single, following “Villain,” from The Death of Peace of Mind, Bad Omens’ third studio album. The set has earned 164,000 equivalent album units since release.
The March 11-dated Mainstream Rock Airplay chart will update on Billboard.com on Tuesday, March 7.