Chart Beat
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SZA’s SOS enters even more rarer air, as the set collects its 10th nonconsecutive week at No. 1 on the Billboard 200 albums chart (dated March 4). Since 2010, only eight albums have notched at least 10 weeks atop the list, including SOS. The last to do so was Bad Bunny’s Un Verano Sin Ti, with 13 nonconsecutive weeks in 2022. The last album by a woman with 10 weeks at No. 1 was Adele’s 25, with 10 nonconsecutively in 2015-16.
In the latest chart’s tracking week, ending Feb. 23, SOS earned 87,000 equivalent album units in the U.S. (down 7%), according to Luminate.
Also in the top 10 of the new Billboard 200, P!nk claims her ninth top 10-charting effort, as her latest studio album, Trustfall, lands at No. 2.
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 4, 2023-dated chart will be posted in full on Billboard‘s website on Tuesday (Feb. 28). For all chart news, follow @billboard and @billboardcharts on both Twitter and Instagram.
Of SOS’ 87,000 equivalent album units earned in the week ending Feb. 23, SEA units comprise 86,000 (down 7%, equaling 118.39 million on-demand official streams of the set’s tracks), album sales comprise 500 (down 21%) and TEA units comprise 500 (down 8%).
The last R&B/hip-hop album with at least 10 weeks atop the list was Drake’s Views, which 13 nonconsecutive weeks at No. 1 (May 21-Oct. 8, 2016). SOS has the most weeks at No. 1 for an R&B/hip-hop album by a woman, or an R&B album by a woman, since Mariah Carey’s self-titled debut spent 11 weeks, all consecutively, at No. 1 in 1991. (Honorable mention to the Whitney Houston-led soundtrack to The Bodyguard, which logged 20 nonconsecutive weeks at No. 1 in 1992-93. The 12-track album has six songs by Houston and six songs by other artists.) SOS has the most weeks at No. 1 for any R&B album since The Bodyguard’s 20-week reign. (R&B/hip-hop and R&B albums are defined as those that have hit or are eligible for Billboard’s Top R&B/Hip-Hop Albums and Top R&B Albums charts, respectively.)
P!nk’s Trustfall debuts at No. 2 on the Billboard 200, giving the star her ninth top 10-charting album. The new effort, her first studio release since the chart-topping Hurts 2B Human in 2019, bows with 74,500 equivalent album units earned. Of that sum, album sales comprise 59,000, SEA units comprise 12,500 (equaling 16.61 million official on-demand streams of the set’s songs) and TEA units comprise 3,000.
Trustfall was preceded by the single “Never Gonna Not Dance Again,” which marked P!nk’s 30th hit on the Pop Airplay chart, 19th top 10 on the Adult Pop Airplay list and 35th entry on the Billboard Hot 100.
Five former No. 1s are next on the Billboard 200: Taylor Swift’s Midnights (a non-mover at No. 3; 54,000 equivalent album units earned, down 11%), Metro Boomin’s Heroes & Villains (6-4; 47,000 units, up 7%), Morgan Wallen’s Dangerous: The Double Album (4-5; 44,000 units, down 1%), Bad Bunny’s Un Verano Sin Ti (5-6; 41,000 units, down 7%), and Drake and 21 Savage’s Her Loss (a non-mover at No. 7; 38,000 units, down 6%) round out the top seven.
Zach Bryan’s American Heartbreak climbs 11-8 with 28,000 equivalent album units earned (down 6%), while Rihanna’s chart-topping ANTI falls 8-9 with 27,000 units (down 24%) and Harry Styles’ former leader Harry’s House dips 9-10 with 27,000 units (down 19%).
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.
Sally Field did not have a long career as a Billboard Hot 100 chart hitmaker, but she had one. Her 1967 single “Felicidad” spent four weeks on the chart, peaking at No. 94 in December 1967.
An impossibly perky and wholesome ditty, “Felicidad” makes “Do-Re-Mi” from The Sound of Music sound like “In-a-Godda-Da-Vida.” The song charted less than two weeks after Field turned 21 and two months after the debut of her hit ABC sitcom The Flying Nun. (That flyweight series ran for three years, a testament to Field’s charm and likeability.) “Felicidad” appeared on Field’s album, The Flying Nun, which logged four weeks on the Billboard 200, peaking at No. 172.
Field, of course, has gone on to a far more enduring career as a film and TV actress. That career is being honored on Sunday (Feb. 26) as Field receives the life achievement award from the Screen Actors Guild. Actor Andrew Garfield is scheduled to present the award.
“Felicidad” entered the Hot 100 at No. 100 in the week ending Nov. 18, 1967. Other new entries that week included The Monkees’ “Daydream Believer” (which went on to top the chart for four weeks), Gary Puckett & the Union Gap’s breakthrough hit “Woman, Woman” (which peaked at No. 4) and Johnny Rivers’ “Summer Rain” (with its memorable nod to The Beatles’ Sgt. Pepper’s Lonely Hearts Club Band).
“Felicidad” entered the chart one week after the arrival of Stone Poneys’ “Different Drum,” which was the first Hot 100 hit for Linda Ronstadt. Field and Ronstadt took vastly different routes to the top, but they both got there. They were in the same class of Kennedy Center Honorees in December 2019.
Dominic Frontiere and Diane Hilderbrand co-wrote “Felicidad.” Jack Keller produced Field’s recording. Keller had composed the irresistible theme song “(Wait Till You See My) Gidget” (performed by Johnny Tillotson) for Field’s first TV series Gidget (1965). Keller co-wrote many Hot 100 hits, including a pair of No. 1 hits in 1960 for Connie Francis, “Everybody’s Somebody’s Fool” and “My Heart Has a Mind of Its Own.”
Field has won three Primetime Emmys (for starring roles in Sybil and Brothers & Sisters and a guest role on ER) and two Oscars (for lead roles in Norma Rae and Places in the Heart). She also received a Tony nomination for The Glass Menagerie (best actress in a play, 2017).
Field gave the best description of her career in 1985 when she won her second Oscar. This will forever be remembered as the “You like me! You really like me!” speech, though Field never uttered that exact line.
“This means so much more to me this time. I don’t know why. I think the first time I hardly felt it because it was all so new. I owe a lot to the cast … to my family … But I want to say thank you to you. I haven’t had an orthodox career and I’ve wanted more than anything to have your respect. The first time I didn’t feel it, but this time I feel it. And I can’t deny the fact that you like me. Right now, you like me!”
Parker McCollum banks his third consecutive career-opening top 10 on Billboard’s Country Airplay chart, as “Handle on You” rises from No. 11 to No. 9 on the survey dated March 4.
In the week ending Feb. 23, the track increased by 7% to 19.8 million in audience, according to Luminate.
McCollum wrote the song with Monty Criswell, and Jon Randall produced it. “Handle” is the lead single from McCollum’s album Never Enough, due May 12.
The 30-year-old McCollum, who hails from Conroe, Texas, follows his two Country Airplay No. 1s: “To Be Loved by You” led last March and his rookie entry “Pretty Heart” reigned in December 2020, each for one week.
On the streaming-, airplay- and sales-based Hot Country Songs chart (dated Feb. 25), “Handle” held at No. 16, after reaching No. 14. It drew 5 million official U.S. streams (up 3%) and sold 1,000 downloads Feb. 10-16.
Hold That ‘Thought’
Morgan Wallen’s “Thought You Should Know” rents the Country Airplay penthouse for a second week, up 4% to 34.4 million impressions.
The song, which became Wallen’s eighth Country Airplay leader on the Feb. 25-dated list, is his fourth to rule for multiple frames. “You Proof,” which dominated for 10 weeks starting in October, is the longest-reigning song in the history of the chart, which launched in January 1990.
Meanwhile, of the five songs that have ascended to No. 1 on Country Airplay so far in 2023, “Thought” marks the third multi-week leader, following Nate Smith’s “Whiskey on You” (two weeks, February) and Jordan Davis’ “What My World Spins Around” (two, January).
Meanwhile, Wallen’s “Last Night” debuts at No. 47 on Country Airplay (1.5 million, up 246%), as well as at No. 40 on Pop Airplay. That track, “Thought” and “You Proof” all preview his 36-song album One Night at a Time, due March 3. “Last Night,” which has topped Hot Country Songs for two weeks running, is now being promoted to pop radio, while “One Thing at a Time” is Wallen’s next country radio single, with promotion starting March 13.
Five Finger Death Punch adds to its record streak of No. 1s on Billboard’s Mainstream Rock Airplay, as “Welcome to the Circus” jumps from No. 2 to the summit on the March 4-dated survey.
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The song is the Ivan Moody-fronted band’s 10th No. 1 in a row, the longest run of leading consecutive entries in the history of Mainstream Rock Airplay, which began in 1981.
Each of the band’s entries has ruled the chart starting with “Sham Pain,” which led for a week in 2018.
In all, Five Finger Death Punch now boasts 14 Mainstream Rock Airplay No. 1s, giving the group sole possession of the third-most leaders in the chart’s history. Only Shinedown (18) and Three Days Grace (17) have more.
Most No. 1s, Mainstream Rock Airplay:18, Shinedown17, Three Days Grace14, Five Finger Death Punch13, Van Halen12, Godsmack11, Disturbed11, Foo Fighters11, Metallica10, Tom Petty (solo and with the Heartbreakers)10, Volbeat
Five Finger Death Punch first crowned Mainstream Rock Airplay with the two-week No. 1 “Coming Down” in 2012.
Concurrently, “Circus” leaps 13-10 on the all-rock-format, audience-based Rock & Alternative Airplay chart with 2.8 million audience impressions, up 11%, Feb. 17-23, according to Luminate. It’s the band’s sixth top 10 and first since “Afterlife,” which peaked at No. 8 last July.
“Circus” ranked at No. 14 on the latest multi-metric Hot Hard Rock Songs survey (dated Feb. 25). In addition to its radio airplay, it earned 714,000 official U.S. streams in the Feb. 10-16 tracking week.
Linkin Park debuts at No. 1 on Billboard’s Hot Hard Rock Songs chart, as its recently unearthed track “Lost” bows atop the Feb. 25-dated ranking.
In the Feb. 10-16 tracking week, “Lost” earned 10.3 million radio audience impressions and 9 million official U.S. streams and sold 12,000 downloads in the United States, according to Luminate.
It’s Linkin Park’s second No. 1 on Hot Hard Rock Songs, which began in 2020, following “In the End,” which reigned for two weeks in 2021 due to gains sparked by iTunes sale pricing.
“Lost” also begins at No. 2 on Hot Alternative Songs and at No. 4 on both Hot Rock & Alternative Songs and Hot Rock Songs.
On the all-genre Billboard Hot 100, “Lost” starts at No. 38, Linkin Park’s highest charting entry since “Burn It Down” reached No. 30 in 2012. It’s the band’s 11th top 40 Hot 100 hit, and fifth to debut in the region. The group hit a No. 2 best with “In the End” in 2002.
As previously reported, “Lost” became the first to debut at No. 1 on the Rock & Alternative Airplay chart in more than a decade on the strength of its radio audience.
The track also tops the Rock Digital Song Sales, Alternative Digital Song Sales and Hard Rock Digital Song Sales surveys, as well as Hard Rock Streaming Songs.
“Lost,” with vocals by Chester Bennington, who died in 2017, was originally recorded for the sessions for Meteora, Linkin Park’s second studio album, released in March 2003. It’s part of a 20th anniversary reissue of the album, due April 7.
Shinedown has the record for the most top 10s on Billboard’s Mainstream Rock Airplay chart all to itself, as “Dead Don’t Die” climbs into the top 10 of the ranking dated Feb. 25.
“Die,” which jumps from No. 13 to No. 9, is Shinedown’s 30th top 10, as the band becomes the first act to cross the threshold in the history of the list, which began in 1981.
Previously, the Brent Smith-fronted outfit was in a three-way tie with Five Finger Death Punch and Foo Fighters for the most top 10s, with 29 apiece.
Most Top 10s, Mainstream Rock Airplay:
30, Shinedown
29, Five Finger Death Punch
29, Foo Fighters
28, Tom Petty (solo and with the Heartbreakers)
27, Godsmack
26, Van Halen
25, Disturbed
25, Metallica
Each of Shinedown’s entries on Mainstream Rock Airplay has reached the top five, dating to its debut entry “Fly From the Inside,” which hit No. 5 in September 2003.
Shinedown is currently riding a streak of eight No. 1s in a row on the chart, a run that began with “How Did You Love” in 2017. The record is held by Five Finger Death Punch, which has notched 10 straight.
Shinedown also boasts the most No. 1s – 18 – of any act in the chart’s history.
Concurrently, “Die” pushes 22-18 on the all-rock-format, audience-based Rock & Alternative Airplay tally with 1.8 million audience impressions, up 18%, Feb. 10-16, according to Luminate.
The song is the third rock radio single from Planet Zero, Shinedown’s seventh studio album, following the title track and “Daylight.” The set debuted at No. 1 on the Top Rock & Alternative Albums chart dated July 16, 2022, and has earned 158,000 equivalent album units to date.
Nearly 18 years after first appearing on Billboard’s Alternative Airplay chart, Fall Out Boy has its first No. 1.
“Love From the Other Side,” from the four-piece’s upcoming eighth studio album So Much (for) Stardust (due March 24), jumps from No. 3 to the top of the chart dated March 4. The band previously rose as high as No. 2 with “Dance, Dance” in 2006.
“Love” became the act’s seventh Alternative Airplay top 10, a run that started with its first entry, “Sugar, We’re Goin’ Down” (No. 3, 2005). Fall Out Boy had most recently reached the top 10 with the No. 10-peaking “Dear Future Self (Hands Up)” in 2019.
Fall Out Boy’s 17-year, nine-month run from a first charting song (“Sugar” debuted on the June 4, 2005, survey) to first a No. 1 is the longest in the Alternative Airplay survey’s 34-year history, surpassing the 17 years and two weeks it took Stone Temple Pilots between 1993’s “Plush” and 2010’s “Between the Lines.”
It also follows up the similarly lengthy 15 years, six months and two weeks it took Paramore between “Misery Business” and first ruler “This Is Why,” which reigned just a month ago.
Longest Wait Between First Appearance and First No. 1, Alternative Airplay:17 years, nine months: Fall Out Boy, “Love From the Other Side” (2005-23)17 years, two weeks: Stone Temple Pilots, “Between the Lines” (1993-2010)16 years, 10 months, two weeks: Alice in Chains, “Check My Brain” (1992-2009)15 years, six months, two weeks: Paramore, “This Is Why” (2007-23)15 years, five months, two weeks: Nine Inch Nails, “The Hand That Feeds” (1989-2005)
Concurrently, “Love” bullets at No. 31, after reaching No. 30 the previous week, on Mainstream Rock Airplay. On the all-rock-format, audience-based Rock & Alternative Airplay chart, the song rises 3-2 with 4.8 million audience impressions, up 10%, Feb. 17-23, according to Luminate.
On the latest Hot Rock & Alternative Songs chart (dated Feb. 25), “Love” placed at No. 31, after rising as high as No. 11 (Feb. 4). In addition to its radio airplay, the song earned 1.4 million official U.S. streams in the Feb. 10-16 tracking week.
So Much (for) Stardust marks Fall Out Boy’s first full-length since Mania, which debuted at No. 1 on the Billboard 200 in February 2018, and has earned 558,000 equivalent album units to date.
All Billboard charts dated March 4 will refresh on Billboard.com Tuesday, Feb. 28.
Paramore and Pierce the Veil lead Billboard’s rock albums charts dated Feb. 25 with new releases This Is Why and The Jaws of Life, respectively.
Paramore’s sixth studio album and first since 2017’s After Laughter bows atop the Top Rock & Alternative Albums, Top Rock Albums and Top Alternative Albums tallies with 64,000 equivalent album units earned Feb. 10-16, according to Luminate. That sum includes 47,000 units via album sales.
The set is Paramore’s fourth straight No. 1 on Top Rock & Alternative Albums, dating to 2009, when Brand New Eyes ruled for a week. Its successors Paramore (2013) and the aforementioned Laughter also led for one frame each.
With four No. 1s, Paramore is tied with Florence + the Machine for the most rulers by a woman or woman-led act since the chart began in 2006. Concurrently, as previously reported, Why starts at No. 2 on the all-genre Billboard 200, the band’s best rank since Paramore debuted at No. 1 in 2013.
All 10 of the new album’s tracks appear on the multi-metric Hot Rock & Alternative Songs survey, paced by “Running Out of Time,” which debuts at No. 18 with 3.3 million official U.S. streams in the tracking week. The album’s title track and lead single (which ranks at No. 19 on the latest Hot Rock & Alternative Songs list, after rising to No. 15 in October) became the band’s first Alternative Airplay No. 1 when it reigned for one week in February.
Carlos de la Garza, who produced the album, concurrently debuts at No. 1 on Billboard’s Rock & Alternative Producers chart for the first time. De la Garza is the sole producer behind all 10 of Paramore’s chart entries on Hot Rock & Alternative Songs. De la Garza dethrones Steve Lacy on Rock & Alternative Producers after leading for 30 consecutive weeks (dating to July 30, 2022).
Meanwhile, Pierce the Veil’s Jaws bows at No. 1 on Top Hard Rock Albums with 27,000 units earned. It’s the band’s third Top Hard Rock Albums leader (and third in a row), following 2012’s Collide With the Sky and 2016’s Misadventures. The new LP also launches at No. 2 on Top Alternative Albums and No. 3 on both Top Rock & Alternative Albums and Top Rock Albums.
On the Billboard 200, Jaws starts at No. 14. Multiple songs from the set appear on Hot Hard Rock Songs, paced by “Death of an Executioner,” which premieres at No. 7 (1.8 million streams). The album’s lead single, “Pass the Nirvana,” appeared on Mainstream Rock Airplay for three weeks, peaking at No. 39 in December. Follow-up “Emergency Contact” climbs 27-24 on Alternative Airplay.
Edgar Barrera spends an 18th week at No. 1 on Billboard’s Latin Songwriters chart (dated Feb. 25), and hits No. 1 on Latin Producers for the first time, thanks to six writing and production credits on the latest Hot Latin Songs survey.
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Dating to the charts’ launch in 2018, Barrera is just the fourth talent to top both Latin rankings simultaneously.
Tainy first achieved the feat in November 2020, and has since doubled up 24 times. Ovy on the Drums led both charts simultaneously for two consecutive weeks in May 2022 and MAG ruled both on three occasions last November and December.
Here’s a look at all of Barrera’s credits on this week’s Hot Latin Songs chart (he’s credited as both a songwriter and producer on each song):
Rank, Artist Billing, Title
No. 2, Fuerza Regida X Grupo Frontera, “Bebé Dame”
No. 3, Carin León X Grupo Frontera, “Que Vuelvas”
No. 8, Manuel Turizo, “La Bachata”
No. 16, Grupo Frontera X Grupo Marca Registrada, “Di Que Sí”
No. 32, Fuerza Regida X Grupo Frontera, “911 (En Vivo)”
No. 43, Maluma + Marc Anthony, “La Fórmula”
Barrera’s 18 weeks at No. 1 on the Latin Songwriters chart mark the third-most in the chart’s history, after only Bad Bunny (95) and Tainy (24).
The weekly Latin Songwriters and Latin Producers charts are based on total points accrued by a songwriter and producer, respectively, for each attributed song that appears on the Hot Latin Songs chart. As with Billboard’s yearly recaps, multiple writers or producers split points for each song equally (and the dividing of points will lead to occasional ties on rankings).
The full Latin Songwriters and Latin Producers charts, in addition to the full genre rankings, can be found on Billboard.com.
Pink blasts to No. 1 on Australia’s chart with Trustfall (via RCA/Sony), the U.S. pop superstar’s ninth studio album.
With Trustfall debuting at the summit of the ARIA Chart, published Feb. 24, Pink bags a seventh leader in the parts, bringing her total number of weeks at the top to 44, ARIA reports.
Pink is considered an “honorary Aussie,” and she’s certainly spent enough time here to earn it.
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On her 2009 Funhouse Tour, she criss-crossed the country for an astounding 59 shows, an epic adventure that took three months and saw her sell 650,000 tickets. Not bad for a country of less than 25 million at the time.
For her Truth About Love Tour in 2013-14, Pink completed 46 dates; and for the Australasian leg of her Beautiful Trauma World Tour in 2018, she spent over two months on these shores, nailing 42 arena dates.
According to Billboard Boxscore, Pink is the highest-grossing act of the 2010s in Oceania with about $135 million. She even has her own ladies’ toilet block at the Brisbane Entertainment Centre, where she has smashed attendance records.
Her albums are also surefire hits. Among Pink’s leaders, three have logged more than eight weeks at No. 1 on the ARIA Chart: Funhouse from 2008 (nine weeks), Greatest Hits… So Far!!! from 2010 (13 weeks) and The Truth About Love from 2012 (10 weeks).
The Philly native also ruled the national chart with I’m Not Dead (2006), Beautiful Trauma (2017) and Hurts 2B Human (2019).
Meanwhile, the title track from Trustfall flies 34-19 on the ARIA Singles Chart, for Pink’s 44th top 20 hit in Australia, a feat that includes 37 top 10 appearances.
As Ed Sheeran winds his way around the country for his latest stadium tour in support of = (equals via Atlantic/Warner), two of the Brit’s LPs return to the top 10. His latest release from 2021, equals, rises 17-6, while divide (÷) from 2017 is up 15-8.
Another English superstar pop artist is currently touring Australia, and enjoying sales bumps for his recordings. Harry Styles, who is working his way around the country for the domestic leg of his Love On Tour trek, sees his global hit single “As It Was” (Columbia/Sony) gain 9-5, while its parent album Harry’s House holds at No. 2.
Over on the ARIA Singles Chart, Miley Cyrus’ “Flowers” (Columbia/Sony) beds down for a sixth consecutive week at No. 1.
If it returns for a seventh week at the penthouse, “Flowers” will equal the reign of Miley’s dad Billy Ray Cyrus, with his 1992 smash “Achy Breaky Heart.”
Finally, another pink-tinged artist is making a statement on Australia’s charts. The English singer, songwriter and producer PinkPantheress’s “Boy’s A Liar” (Parlophone/Warner) lifts 3-2, a new peak, thanks to a viral cut featuring rising U.S. rapper Ice Spice.