Chart Beat
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Nothing can crush “Flowers” (via Columbia) in the U.K., as Miley Cyrus’ track becomes the longest-reigning No. 1 single of 2023 so far.
The U.S. pop singer enters a fifth consecutive week atop the Official U.K. Singles Chart with “Flowers,” powered by 8.5 million streams across the cycle. That’s more than enough streams to lead all singles in that format for a fifth straight week.
“Flowers” is easily Miley’s biggest chart hit in the U.K., beating the single-week runs for her previous leaders “We Can’t Stop” and “Wrecking Ball,” both from 2013.
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After nabbing her first-ever U.K. top 10 spot earlier in the month, PinkPantheress pounces once more with “Boy’s a liar” (Warner Records), up 8-3 in its ninth week on the chart. It’s the third top 40 appearance for the British singer, songwriter and producer, and it’s helped up by a remix featuring rising U.S. rapper Ice Spice.
Linkin Park locks the highest new entry on the latest chart, published Feb. 17, with “Lost,” a previously unreleased track which features vocals from the band’s late leader singer Chester Bennington.
The nu-metal favorites bow at No. 18, for their first U.K. top 20 appearance in 14 years. “Lost” is one of six unreleased songs on Meteora 20, the 20th anniversary edition of their sophomore album. Meteora 20th Anniversary Edition will be released through Warner Records on April 7.
Further down the list, London rapper Strandz scores his first U.K. top 40 as “Us Against The World” (Relentless) jumps 42-27, while countryman Central Cee snags his 16th top 40 appearance with “Me & You” (Central Cee), new at No. 31.
Close behind is Brighton, England alternative-pop act Lovejoy with “Call Me What You Like” (Anvil Cat). It’s new at No. 32 for Lovejoy’s first top 40 appearance.
Finally, the Feb. 12 Brit Awards has juiced-up the chart performance of several winners, performers and nominees.
Among the beneficiaries is George Ezra “Green Green Grass” (Columbia), which lifts 19-14 after it was shortlisted for song of the year, eventually losing out to Harry Styles’ “As It Was” (Columbia), up 34-7 on the latest survey. Meanwhile, Lewis Capaldi’s “Forget Me” (Vertigo), which the Scotsman performed on the night, is up 44-37.
Paramore stands tall atop the U.K. albums chart as This Is Why (via Atlantic) blasts to No. 1.
This Is Why had led its closest rival at the midweek point by two-to-one, and it completes the job by securing the title.
According to the Official Charts Company, This Is Why, the Franklin, Tennessee-formed band’s sixth studio LP, was a particular hit on physical formats, which accounted for 76% of its final total.
The reunited trio of Hayley Williams, Zac Farro and Taylor York now has a third U.K. No. 1, including Brand New Eyes (from 2009) and Paramore (2013). This Is Why also leads the Official Vinyl Albums Chart, and it’s the best-seller in Australia.
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Also new to the Official U.K. Albums Chart, published Feb. 17, is You Me At Six’s Truth Decay (Underdog), the Surrey, England group’s eighth studio album. It’s new at No. 4 for the rockers’ seventh consecutive top 10 appearance.
ABBA continues to mine Gold (Polydor) with their 1992 greatest hits collection, which improves 15-10. The set has now chalked up a ridiculous 1,085 weeks on the U.K. chart, and July 2021 became the first LP to log 1,000 weeks on the survey.
The Swedish pop legends have made a home of sorts in the U.K. with ABBA Voyage. Digital avatars of the band – or ABBA-tars, as the show’s producers insist on calling them – are performing through November at the purpose-built 3,000-capacity ABBA Arena in Queen Elizabeth Olympic Park, London.
Another legendary act makes an impact on the latest chart — The Rolling Stones. Mick Jagger and Co. bow at No. 21 with live hits collection GRRR! Live (Mercury Studios), for the Stones’ 54th top 40 appearance.
Finally, two major TV broadcasts produce chart bumps for several performers.
After performing a medley of hits for her Super Bowl halftime slot, Rihanna’s ANTI (Roc Nation) returns to the top 40 at No. 39. The Barbadian pop artist’s eighth studio album enjoys a 74% week-on-week gain as it improves 69 spots, the OCC reports, while RiRi’s 2007 album Good Girl Gone Bad (Def Jam) rises 41 places to No. 42.
Harry Styles won album, artist and song of the year at the 2023 Brit Awards. He’s a winner again as Harry’s House (Columbia/Sony) lifts 6-2, and his previous, sophomore set Fine Line improves 31-20 on the latest list.
And Brighton, England alternative pop duo Wet Leg’s chart-topping, eponymously-titled Domino Recordings debut flies 83 spots to No. 29, after winning for group of the year and best new artist at the BRITs.
SZA’s SOS claims a ninth nonconsecutive week at No. 1 on the Billboard 200 albums chart (dated Feb. 25) — the most weeks atop the list for an album by a woman in nearly seven years. The last set by a female artist to spend at least nine weeks at No. 1 was Adele’s 25, which ruled for 10 nonconsecutive weeks between Dec. 12, 2015, and March 12, 2016.
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SOS earned 93,000 equivalent album units in the U.S. in the week ending Feb. 16 (down 7%), according to Luminate.
Also in the top 10 of the new Billboard 200: Paramore’s This Is Why debuts at No. 2 — the highest charting alternative album in eight months, while Rihanna’s former No. 1 Anti returns to the top 10 for the first time since 2016, following her halftime show performance at the Super Bowl on Feb. 12.
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 Feb. 25, 2023-dated chart will be posted in full on Billboard‘s website on Wednesday (Feb. 22), one day later than usual, owed to Presidents’ Day holiday on Monday (Feb. 20) in the U.S. For all chart news, follow @billboard and @billboardcharts on both Twitter and Instagram.
Of SOS’ 93,000 equivalent album units earned in the week ending Feb. 16, SEA units comprise 92,000 (down 7%, equaling 126.73 million on-demand official streams of the set’s tracks), album sales comprise 500 (down 1%) and TEA units comprise 500 (up 2%).
In the last 10 years, only three albums by women have spent at least nine weeks at No. 1 on the Billboard 200: SOS, Adele’s 25 (10 in 2015-16) and Taylor Swift’s 1989 (11, 2014-15).
The last R&B/hip-hop album with at least eight 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 an R&B album by any act since Usher’s Confessions ruled for nine nonconsecutive weeks in 2004. (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.)
Paramore scores its highest-charting album in nearly a decade, as This Is Why debuts at No. 2 on the Billboard 200. It’s also the highest-charting alternative album in almost a year. This Is Why is the band’s first album since After Laughter was released in May 2017; it debuted and peaked at No. 6. The group’s last album to go higher was its self-titled 2013 release, which debuted at No. 1 on the April 27, 2013-dated list.
This Is Why begins with 64,000 equivalent album units earned. Of that sum, album sales comprise 47,000, SEA units comprise 17,000 (equaling 21.3 million on-demand official streams of the set’s songs) and TEA units comprise a negligible sum. The album was ushered in by the album’s title track, which became the act’s first No. 1 on the Alternative Airplay chart (in February) after 11 previous entries going back to 2007.
This Is Why is the highest-charting alternative album on the Billboard 200 since Red Hot Chili Peppers’ Unlimited Love debuted at No. 1 on the April 16, 2022-dated chart. (Alternative albums are defined as those that have hit or are eligible for Billboard’s Top Alternative Albums chart.)
Swift’s former No. 1 Midnights falls 2-3 on the Billboard 200 with 60,000 equivalent album units earned (down 3%).
Morgan Wallen’s chart-topping Dangerous: The Double Album is a non-mover at No. 4 with 44,000 equivalent album units earned (down 4%). Dangerous has now accumulated 107 nonconsecutive weeks in the top 10 on the Billboard 200. It now solely has the third-most weeks in the top 10 among all albums since the chart began publishing on a regular, weekly basis in March of 1956, surpassing the 106 weeks tallied by the soundtrack to the film West Side Story. Dangerous continues to have the most weeks in the top 10 for an album by a single artist. The all-time top 10 record-holder is the original cast recording of My Fair Lady, with 173 weeks in the top 10 between 1956-60. See list, below.
Albums With Most Weeks in Top 10 on Billboard 200 Chart (March 24, 1956-onwards)
Weeks in Top 10, Artist, Title, Year First Reached Top 10
173, Original Cast, My Fair Lady, 1956109, Soundtrack, The Sound of Music, 1965107, Morgan Wallen, Dangerous: The Double Album, 2021106, Soundtrack, West Side Story, 1962105, Original Cast, The Sound of Music, 196090, Soundtrack, South Pacific, 195887, Original Cast, Camelot, 196187, Soundtrack, Oklahoma!, 195685, Peter, Paul and Mary, Peter Paul and Mary, 196284, Adele, 21, 201184, Bruce Springsteen, Born in the U.S.A., 1984(through the Feb. 25, 2023-dated chart)
Bad Bunny’s chart-topping Un Verano Sin Ti rises 7-5 with nearly 44,000 equivalent album units (down 4%); Metro Boomin’s former leader Heroes & Villains falls 5-6 with 43,000 units (down 5%); and Drake and 21 Savage’s former No. 1 Her Loss climbs 8-7 with 40,000 (down 7%).
Rihanna’s chart-topping Anti roars back into the top 10 for the first time since its release year, 2016, as the set vaults 50-8 with 36,000 equivalent album units earned (up 166%). The album, Rihanna’s most recent studio effort, surges back up the list following Rihanna’s Super Bowl halftime show performance on Feb. 12, where her setlist included the album’s hit single “Work.” (She also wove in elements of the album’s “Pose” and “Kiss It Better” into the performances of “All of the Lights” and “Rude Boy,” respectively.)
Anti was released a little over seven years ago, on Jan. 28, 2016, and spent two nonconsecutive weeks at No. 1 (Feb. 20 and April 2, 2016-dated charts). It was last in the top 10 on the Oct. 16, 2016 chart (No. 9) and last at No. 8 or higher on the Sept. 24, 2016-dated list (when it was also at No. 8).
Anti is Rihanna’s longest-charting album on the Billboard 200, with 355 weeks on the list. That also marks the most weeks ever on the chart for an R&B/hip-hop album by a woman or R&B album by a woman.
Closing out the top 10 of the new Billboard 200 are a pair of former No. 1s: Harry Styles’ Harry’s House is stationary at No. 9 with 33,000 equivalent album units earned (down 13%) and TOMORROW X TOGETHER’s The Name Chapter: TEMPTATION falls 3-10 with 32,000 units (down 33%).
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.
Meghan Trainor returns to No. 1 on Billboard’s Adult Pop Airplay chart as “Made You Look” tops the tally dated Feb. 25.
The song, released on Epic Records, becomes Trainor’s second Adult Pop Airplay leader, after “Like I’m Gonna Lose You,” featuring John Legend, ruled for two weeks in January 2016. She boasts six top 10s on the list dating to her debut smash, “All About That Bass,” in 2014.
“Made You Look” is from Trainor’s album Takin It Back, which launched at its No. 16 high on the Billboard 200 in November and has spent 16 straight weeks on the survey.
The song’s coronation follows Trainor’s joyous Jan. 30 announcement that she’s expecting her second child with husband Daryl Sabara. She’s also releasing a book about pregnancy, Dear Future Mamas, April 25. (Two-year-old son Riley has helped swell the song’s profile on social media, including TikTok, where the track has been prominent throughout its run.)
“I never take these things for granted and, now that I’m a mom, everything means so much more,” Trainor told Billboard upon learning of her new chart triumph with “Made You Look.” “Especially with my hormones from this second pregnancy, I’m going to be crying happy tears about this all night.
“I can’t wait to tell my baby one day that they were in my belly when we got this No. 1!”
“Made You Look” has also hit No. 5 on Pop Airplay and No. 8 on the all-format Radio Songs chart, marking the Nantucket, Mass., native’s fifth top 10 on each ranking. The song, which has been remixed by Joel Corry and with Kim Petras, among others, has, from its release through Feb. 9, drawn 559.2 million in airplay audience and 132.9 million official on-demand U.S. streams and sold 83,000, according to Luminate.
All charts dated Feb. 25 will update on Billboard.com Wednesday, Feb. 22 (a day later than usual due to the Presidents Day holiday in the U.S. Monday, Feb. 20).
Morgan Wallen notches his eighth leader on Billboard‘s Country Airplay chart, as “Thought You Should Know” ascends from No. 2 to No. 1 on the list dated Feb. 25. In the week ending Feb. 16, it increased by 4% to 33.2 million impressions, according to Luminate.
(All charts dated Feb. 25 will update on Billboard.com Wednesday, Feb. 22, a day later than usual due to the Presidents Day holiday in the U.S. Monday, Feb. 20.)
Wallen co-wrote the song with Nicolle Galyon and Miranda Lambert, the latter of whom claims her first Country Airplay No. 1 as a writer for another artist, after she penned three that she’s recorded (among her seven total leaders as a recording artist).
“Thought” is the second Country Airplay No. 1 from Wallen’s 36-song LP One Thing at a Time, due March 3. “You Proof” dominated for 10 frames starting last October, becoming the longest-leading No. 1 in the chart’s 33-year history.
‘Truck’ Driving
Lainey Wilson’s “Heart Like a Truck” motors into the Country Airplay top five, up 6-5 (23.2 million, up 3%). It’s her third top five hit, following “Things a Man Oughta Know,” which led for a week in September 2021, and her Cole Swindell team-up “Never Say Never,” which reigned for two frames starting last April.
Concurrently, HARDY’s “Wait in the Truck,” featuring Wilson, is parked at No. 10 on Country Airplay (19.6 million). Wilson posts a twofer for a third consecutive week; while 11 male acts have logged two concurrent top 10s – Morgan Wallen, Mitchell Tenpenny and Luke Combs, most recently – Wilson is the first woman to have achieved the feat.
“Lainey is ushering in the next generation of female superstars,” says Mike Moore, program director at Cumulus Media’s WKHX Atlanta. “Her album Bell Bottom Country is fantastic from beginning to end. We were fortunate to have her here for a station show at the end of 2022, and our audience couldn’t get enough. She is equal parts talent, sincerity and a quality person.”
Miley Cyrus’ “Flowers” bounds to No. 1 on Billboard’s mainstream top 40-based Pop Airplay chart (dated Feb. 25).
The song, released on Smiley Miley/Columbia Records, becomes Cyrus’ third Pop Airplay leader, after “Party in the U.S.A.” reigned for a week in November 2009 and “Wrecking Ball” ruled for two weeks in November-December 2013. She boasts six top 10s among 15 total entries on the radio ranking.
Notably, “Flowers” tops Pop Airplay, flying from No. 5 to No. 1 (up 15% in plays on 153 reporters Feb. 10-16, according to Luminate), in just its fifth week on the chart, dating to its debut, at No. 16, on the Jan. 28 list. It claims the quickest coronation since Justin Timberlake’s “Can’t Stop the Feeling!” also needed just five frames to hit No. 1 in 2016.
Here’s a recap of the songs to lead Pop Airplay the fastest, with four having ruled in just their fourth week each on the chart.
Four weeks to No. 1 on Pop Airplay:
“I Will Always Love You,” Whitney Houston, hit No. 1 on the chart dated Dec. 12, 1992
“Dreamlover,” Mariah Carey, Sept. 4, 1993
“I’ll Be There for You,” The Rembrandts, June 17, 1995
“Over and Over,” Nelly feat. Tim McGraw, Nov. 6, 2004
Five weeks to No. 1 on Pop Airplay:
“That’s the Way Love Goes,” Janet Jackson, hit No. 1 on the chart dated May 29, 1993
“All That She Wants,” Ace of Base, Oct. 30, 1993
“I Swear,” All-4-One, May 28, 1994
“I’ll Make Love to You,” Boyz II Men, Sept. 10, 1994
“One Sweet Day,” Mariah Carey & Boyz II Men, Dec. 9, 1995
“Bad Blood,” Taylor Swift feat. Kendrick Lamar, July 4, 2015
“Hello,” Adele, Dec. 5, 2015
“Can’t Stop the Feeling!,” Justin Timberlake, June 18, 2016
“Flowers,” Miley Cyrus, Feb. 25, 2023
As of the latest all-genre, multimetric Billboard Hot 100 chart (dated Feb. 18), “Flowers” is Miley Cyrus‘ newly crowned longest-leading No. 1, surpassing the three-week command of “Wrecking Ball” in 2013.
All charts dated Feb. 25 will update on Billboard.com Wednesday, Feb. 22 (a day later than usual due to the Presidents Day holiday in the U.S. Monday, Feb. 20).
Weezer’s “Records” becomes the band’s eighth No. 1 on Billboard’s Alternative Airplay chart, lifting to the top of the Feb. 25-dated ranking.
Weezer now boasts four Alternative Airplay No. 1s in a row; each of the band’s entries this decade has led. “Hero” started the streak in 2020 (one week at No. 1 that August), followed by “All My Favorite Songs” (four weeks, July-August 2021) and “A Little Bit of Love” (two, June 2022).
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The Rivers Cuomo-fronted band first topped Alternative Airplay in 2005 with its one-week No. 1 “Beverly Hills” (over a decade after the band’s first entry, the No. 6-peaking “Buddy Holly,” in 1994). Subsequently, the act’s “Perfect Situation” ruled for four weeks in 2006, followed by “Pork and Beans” (11 weeks, 2008) and its cover of Toto‘s “Africa” (three, 2018).
Weezer’s eight Alternative Airplay No. 1s slot the band into a tie for the seventh-most in the chart’s 34-year history, alongside U2. Red Hot Chili Peppers pace all acts with 15.
Most No. 1s, Alternative Airplay:
15, Red Hot Chili Peppers
12, Green Day
11, Linkin Park
10, Cage the Elephant
10, Foo Fighters
10, twenty one pilots
8, U2
8, Weezer
7, Imagine Dragons
“Records” reigns in its 29th week on Alternative Airplay, completing Weezer’s longest trip to No. 1. It exceeds the 26-week journey of “All My Favorite Songs” in 2021.
Concurrently, “Records” ranks at its No. 6 high on the all-rock-format, audience-based Rock & Alternative Airplay chart, with 3.7 million audience impressions, according to Luminate. It also earned a two-week appearance on Adult Alternative Airplay in August-September 2022, peaking at No. 38.
“Records” is the radio single from the EP SZNZ: Summer (released last June), part of Weezer’s overarching four-EP SZNZ project. Preceding Alternative Airplay No. 1 “A Little Bit of Love” is also from SZNZ, on the Spring edition.
For the first time in over a decade, there’s a No. 1 debut on Billboard’s Rock & Alternative Airplay chart.
Linkin Park’s “Lost,” recorded during the sessions for the band’s 2003 album, Meteora, and released Feb. 11, bows at No. 1 on the all-rock-format, audience-based Rock & Alternative Airplay list dated Feb. 25.
In the Feb. 10-16 tracking week, “Lost” earned 10.1 million audience impressions, according to Luminate. That’s the best weekly impression count for any song since Lana Del Rey’s “Doin’ Time” earned 10.5 million in its sixth and final week at No. 1 (Oct. 12, 2019).
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The last song to debut with a higher audience total than “Lost”? “Jumpsuit” by Twenty One Pilots (10.2 million, July 21, 2018; it opened at No. 4 that week).
“Lost” is one of just four songs to bound in at No. 1 on Rock & Alternative Airplay dating to the chart’s June 2009 inception – and Linkin Park is the first act to achieve the feat twice. The band’s “The Catalyst” began atop the Aug. 21, 2010, survey, followed by Foo Fighters’ “Rope” (March 12, 2011) and Green Day’s “Oh Love” (Aug. 4, 2012).
Linkin Park lands its fourth Rock & Alternative Airplay No. 1, after “New Divide” ruled for 12 weeks in 2009, followed by “The Catalyst” (five weeks, 2010) and “Burn It Down” (11 weeks, 2012). In between “Burn” and “Lost,” the band appeared on the chart nine times, led by the No. 7-peaking “Lost in the Echo” in 2012, but had not made the list since 2017, following the death of frontman Chester Bennington that July. (“Lost” is the first song in the chart’s archives to hit No. 1 after the passing of its vocalist.)
Linkin Park ties Red Hot Chili Peppers for the seventh-most Rock & Alternative Airplay No. 1s. Foo Fighters lead all acts with nine.
Most No. 1s, Rock & Alternative Airplay:
9, Foo Fighters
6, Cage the Elephant
6, Green Day
6, twenty one pilots
5, The Black Keys
5, Imagine Dragons
4, Linkin Park
4, Red Hot Chili Peppers
3, Weezer
Concurrently, “Lost” starts at No. 4 on Alternative Airplay, the best premiere for any song since Linkin Park’s own “The Catalyst” soared in at No. 3 in 2010. It’s the band’s 18th top 10 and first since its Steve Aoki co-bill “A Light That Never Comes,” which reached No. 7 in 2013.
The band’s 18 top 10s tie it for seventh-best in the chart’s 34-year history. Foo Fighters and Red Hot Chili Peppers rule with 28 apiece.
Most Top 10s, Alternative Airplay:
28, Foo Fighters
28, Red Hot Chili Peppers
24, Green Day
23, U2
21, Weezer
19, Pearl Jam
18, Linkin Park
18, The Offspring
17, Muse
17, The Smashing Pumpkins
“Lost” also begins at No. 6 on Mainstream Rock Airplay, also Linkin Park’s 18th top 10 and, in this case, its first since “Until It’s Gone” ruled for a week in 2014.
While Linkin Park makes its first appearance on a Billboard airplay tally in more than five years, Bennington’s voice has been heard on charted entries following his passing via the release of music from Grey Daze, his pre-Linkin Park band. That act’s “Sickness” hit No. 2 on Mainstream Rock Airplay in May 2020, followed by a No. 29 peak for “B12” that September.
More chart appearances for “Lost” are set for other Billboard charts dated Feb. 25 (all to refresh on Billboard.com Wednesday, Feb. 22). “Lost” is a taste of the 20th-anniversary reissue of Meteora, due April 7. The album debuted as Linkin Park’s first of six No. 1s on the Billboard 200, ruling for two weeks in April 2003.
Miley Cyrus’ “Flowers” and Bizarrap and Shakira’s “Bzrp Music Sessions, Vol. 53” unofficially kicked off the year in new music when they soared in at Nos. 1 and 2, respectively, on the Jan. 28-dated Billboard global charts. While they have yet to budge from the top two positions on Billboard Global Excl. U.S., and the former maintains its command on the Billboard Global 200, no new song has hit the top 10 of either ranking since. The Feb. 18-dated Global Excl. U.S. chart features just four new entries overall, matching a record low sum of weekly debuts since the survey began in September 2020.
One of the standout new arrivals is PinkPantheress and Ice Spice’s “Boy’s a Liar, Pt. 2,” starting at No. 54, as well as at No. 15 on the Global 200. The song premiered late in 2022 as a solo track for the former before being remixed and reissued as a duet with the later on Feb. 3. The remix sparks the song’s launch on the global charts (and the U.S.-based Billboard Hot 100, at No. 14), spiking by 328% to 36 million weekly streams worldwide in the week ending Feb. 9, according to Luminate (with all versions rolled up into one chart listing).
Both artists released their first singles in 2021 and, in less than two years, have built themselves up as two of the buzziest online acts. Including the original solo take of “Boy’s a Liar” (but before releasing the song’s instant-hit remix), the U.K.-born PinkPantheress amassed more than 1.2 billion global streams despite never cracking either global chart or the Hot 100. Originally released on Nov. 30, 2022, the solo version debuted to 2.2 million worldwide streams in its first week, before growing to a peak of 9.8 million in the week ending Jan. 26.
Despite Ice Spice’s less robust discography and lower international profile, the song’s explosion on the most recent charts owes much of its success to its new co-headliner, the fast-talking New York-based rapper. It’s reasonable to assume that she did not just help grow the track’s overall global stream count, but helped further increase the song’s presence in the U.S., as its domestic share of streams leaps from 39% to 56%, compared to the week’s overall average of 23%.
While “Boy’s a Liar, Pt. 2” scores the Hot Shot Debut on the Global 200, the highest new entry on Global Excl. U.S. is Léo Santana’s “Zona de Perigo.” The Brazilian artist scores his first title on either global chart, opening No. 48 on the Global 200. The bulk of the song’s start is owed to its official live-performance music video. Of its 29.5 million global streams, 29.3 million came from outside the U.S. and 61% stemmed from video platforms. That’s a higher share of video streams than all but eight songs on the 200-position Global Excl. U.S. chart, and all but three on the Global 200.
As Santana was busy scoring his first global chart hit, Karol G, from Colombia, follows with her 14th, as “X Si Volvemos,” with U.S.-born Romeo Santos (who adds his second), debuts at No. 30 on the Global 200 and No. 32 on Global Excl. U.S., powered by 29.6 million streams worldwide.
Lastly, Mexico’s Fuerza Regida and Natanael Cano enter Global Excl. U.S. and the Global 200 at Nos. 179 and 184, respectively, with “Ch y la Pizza” (13.9 million).
Both tracks show similar streaming splits, with 28% and 25%, respectively, from the U.S., striking a balance between PinkPantheress and Ice Spice’s domestic lean and Santana’s strong international favor.
With their first album in six years, This Is Why (via Atlantic/Warner), Paramore powers all the way to No. 1 in Australia.
This Is Why becomes Paramore’s third leader on the ARIA Chart, following Brand New Eyes (in 2009) and Paramore (2013). It’s their sixth studio album and the followup to 2017’s After Laughter, which peaked at No. 3 in these parts.
The reunited pop-rock trio of Hayley Williams, Taylor York and Zac Farro can boast another neat feat this week; This Is Why is the only new release to impact the ARIA Top 50.
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Completing the podium on the latest ARIA Albums Chart, published Feb. 17, is Harry Styles’ Harry’s House (Columbia/Sony), up 3-2 following his triumphant nights at the BRITs and Grammy Awards; and Taylor Swift’s Midnights (Universal), down 1-3.
Over on the ARIA Singles Chart, Miley Cyrus makes it five weeks in a row with “Flowers” (Columbia/Sony), a record that just seems to grow on fans.
The pop star’s reign could face a challenge from “Boy’s A Liar” (Plg/Warner) by PinkPantheress, the hotly-tipped British singer, songwriter and producer. “Boy’s A Liar” roars 25-3, following the release of a remix featuring U.S. rising star Ice Spice.
Also on the move up is Miguel’s 2010 release “Sure Thing” (Sony), which lifts 11-7 after getting the viral treatment on TikTok. That’s well-up on the original No. 11 peak for “Sure Thing” back in 2011, and it marks the U.S. R&B artist’s second top 10 appearance (his 2013 collaboration with Mariah Carey on “Beautiful” went to No. 6). “Sure Thing” is now three-times platinum certified.
Finally, American rapper and singer Coi Leray’s catchy number “Players” (Universal) is on the rise. It’s up 18-10.