Chart Beat
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Has Roman finally gotten revenge? “Roman Holiday,” the lead track from Nicki Minaj’s 2012 sophomore album Pink Friday: Roman Reloaded, has gone viral and climbed back onto streaming charts, nearly doubling its weekly streaming total thanks to recent fan outcries following the Grammy Awards earlier this month.
For their performance of their No. 1 smash “Unholy” at this year’s Grammys, Sam Smith and Kim Petras leaned into devilish imagery, complete with horns and red leather. Barbz were quick to hop online and point out that Minaj had earned criticism for her 2012 Grammys performance of “Roman Holiday,” which had a similarly winking demonic slant but was latter panned by conservative watch groups and longtime Grammys producer Ken Ehrlich, who called it “a disappointment both in terms of what we did and to an extent what she did.”
For Minaj diehards, the rapper seemingly being punished for her performance over a decade ago — Minaj has yet to return to the Grammys stage since the “Roman Holiday” spectacle, and has yet to win a Grammy, despite 10 career nominations — while Smith and Petras were lauded for their “Unholy” showcase, and soon awarded the best pop duo/vocal performance during the telecast, represented hypocrisy from the Recording Academy. (In the days following their own Grammys performance, Smith and Petras were also criticized, although the Recording Academy has not publicly dinged them.)
As a result, her fans began streaming “Roman Holiday,” and the non-single from Pink Friday: Roman Reloaded crashed the iTunes Chart 11 years after its release.
Weekly U.S. on-demand streams for “Roman Holiday” were up 99% during the week following this year’s Grammys, earning 125,000 streams during the week ending Feb. 9, according to Luminate. It also saw a tremendous jump in sales, going from a negligible weekly number to nearly 6,000 for the week. This isn’t the first time that “Roman Holiday” has gone viral — TikTok is full of sped-up versions of the track, dating back mostly to 2021 — but this time the resurgence is producing a sizable bump in listenership.
“Roman Holiday” never reached the Hot 100 upon its release, although Pink Friday: Roman Reloaded did spin off hits like “Starships,” “Pound the Alarm” and “Va Va Boom.” Last year, Minaj reached the top of the Hot 100 for the first time as a solo artist, thanks to “Super Freaky Girl.”
Following the 65th Grammy Awards Feb. 5, multiple songs, albums and artists show sizable surges in U.S. streams and sales, equating to gains on Billboard charts dated Feb. 18.
Among the most impactful: Sam Smith and Kim Petras’ “Unholy,” which lifts 5-4 on the multi-metric Billboard Hot 100 after being performed during the ceremony (broadcast on CBS) and winning for best pop duo/group performance.
In the Feb. 3-9 tracking, the former No. 1 earned 17.9 million official U.S. streams, up 16%, according to Luminate.
A pair of songs that were also part of the festivities — Beyoncé’s “Cuff It” and Harry Styles’ “As It Was” — sport gains as well, the former returning to the Billboard Hot 100’s top 10 while the latter extends its run in the region. “Cuff It,” which vaults 15-6 for a new high, earned a 37% boost in streams to 9.4 million, along with 78,000 in sales, up 4,026%, due in part to newly released remixes and its Grammy win for best R&B song.
Former 15-week Hot 100 No. 1 “Was” dips 9-10 but jumped 21% in streams to 12.4 million and 289% to 7,000 sold. Styles performed the song during the broadcast, while parent album Harry’s House took home album of the year honors.
Outside the Hot 100’s top 10, Lil Uzi Vert’s “Just Wanna Rock,” the closing song of the Grammy’s 50th anniversary pf hip-hop medley, backtracks to No. 12 from its No. 10 high but is up in overall metrics, garnering a 5% gain to 15.7 million streams, alongside 2,000 sold, up 18%. Elsewhere within the top 30, Luke Combs’ “Going, Going, Gone” pushes 24-23 after his performance of the song during the telecast, with 10.7 million streams, up 6%, and 3,000 sold, up 71%.
Lizzo‘s former two-week Hot 100 No. 1 “About Damn Time” climbs 50-41 after she performed the song and it won for record of the year nod, garnering 6.2 million streams, up 20%, and 5,000 sold, up 295%.
In all, 10 songs performed during the Grammy broadcast are among the 2,000 most-streamed titles of the week Feb. 3-9 in the U.S. and garnered at least a 5% gain:
Performed
Sam Smith & Kim Petras, “Unholy” (17.9 million streams, up 16%)
Lil Uzi Vert, “Just Wanna Rock” (15.7 million streams, up 5%)*
Harry Styles, “As It Was” (12.4 million streams, up 21%)
Steve Lacy, “Bad Habit” (11.6 million streams, up 6%)
Luke Combs, “Going, Going, Gone” (10.7 million streams, up 6%)
Lil Baby, “Freestyle” (8.1 million streams, up 6%)*
Lizzo, “About Damn Time” (6.2 million streams, up 20%)
Bad Bunny, “Después de la Playa” (3.1 million streams, up 34%)
Nelly, “Hot in Herre” (1.8 million streams, up 5%)*
DJ Khaled feat. Rick Ross, Lil Wayne, Jay-Z, John Legend & Fridayy, “God Did” (1.7 million streams, up 57%)
(*performed during the Grammy’s hip-hop medley)
Additionally, nine songs that won Grammy awards, either during the main ceremony or during the pre-telecast, were both up at least 5% and within the top 2,000 songs in U.S. streams Feb. 3-9.
Won
Sam Smith & Kim Petras, “Unholy” (17.9 million streams, up 16%) (best pop duo/group performance)
Future feat. Drake & Tems, “Wait for U” (10.9 million streams, up 5%) (best melodic rap performance)
Beyoncé, “Cuff It” (9.4 million streams, up 37%) (best R&B song)
Lizzo, “About Damn Time” (6.2 million streams, up 20%) (record of the year, best remixed recording, non-classical)
Adele, “Easy on Me” (5.8 million streams, up 16%) (best pop solo performance)
Cody Johnson, “’Til You Can’t” (4.8 million streams, up 7%) (best country song)
Beyoncé, “Break My Soul” (3.5 million streams, up 41%) (best dance/electronic recording)
Muni Long, “Hrs and Hrs” (3.5 million streams, up 8%) (best R&B performance)
Taylor Swift, “All Too Well (Taylor’s Version)” (3.3 million streams, up 9%) (best music video)
Concurrently, the Billboard 200 dated Feb. 18 reflects multiple bumps for albums either prominently featured during the Grammys or by artists who appeared at the ceremony. Leading the way, Bad Bunny’s Un Verano Sin Ti rises 8-7 with 45,000 equivalent album units, up 16%. Aforementioned album of the year winner Harry’s House follows, jumping 13-9 with 38,000 units, a 51% boost.
Samara Joy’s Linger Awhile also appears on the Billboard 200 for the first time, debuting at No. 158 (8,000 units, up 319%) following her best new artist victory.
Linkin Park‘s anniversary plans for their 2003 album Meteora this spring are already off to a soaring start. A reissue of the soon-to-be-20-year-old album was recently announced for this April, along with exciting news of a previously unreleased song from the era (featuring original vocals from the band’s late frontman Chester Bennington) being discovered for the set: the appropriately haunting “Lost.”
Released on Friday (Feb. 10), “Lost” has enjoyed the kind of explosive first week the band used to regularly post with new singles during their commercial prime. The song started with nearly 2 million official on-demand U.S. streams its debut day, and earned 7.1 million total plays through Tuesday (Feb. 14), according to Luminate — while also putting up robust sales numbers, moving nearly 11,000 copies over that timespan. It even has started to make radio impact, with 7.1 million in all-format radio audience from Feb. 10-13.
The extra attention around “Lost” and the Meteora reissue (scheduled for Apr. 7 via Warner) has also led to a bump in the songs from that original RIAA seven-times-platinum-certified 2003 blockbuster. The album, which features such Linkin Park staples as “Numb,” “Faint,” “Somewhere I Belong” and “Breaking the Habit,” jumped from just over 1.7 million combined official on-demand U.S. streams the day before “Lost” to nearly 2.3 million on the day of its release, a gain of 32%.
“Lost” should make a significant impact on the Billboard charts next week (dated Feb. 25), including a likely debut on the Billboard Hot 100 — which would be the band’s first since they reached No. 45 with the Kiiara-featuring “Heavy” in Aug. 2017, following Bennington’s tragic death at the age of 41 that July. (If it made the chart’s top 40, that would be their first visit to the region since “Burn It Down” reached No. 30 in May 2012.)
Beyoncé, fresh off her historic wins at the Grammy Awards on Feb. 5, takes more honors on Billboard‘s Feb. 18-dated dance/electronic charts.
On the Top Dance/Electronic Albums chart, the superstar enjoys a 13th week at No. 1 with Renaissance, which won the best dance/electronic album Grammy (among her four wins this year, upping her career total to a record-breaking 32). The set earned 37,000 equivalent album units, up 109%, in the Feb. 3-9 tracking week, according to Luminate.
On the multi-metric Hot Dance/Electronic Songs survey, the set’s lead single “Break My Soul” bounds 9-6, earning the top Streaming Gainer award with 3.5 million official U.S. streams, up 41%. The track, which dominated the chart for 11 weeks last July-September and won the Grammy for best dance/electronic recording, also sold 1,600 downloads, up 30%, and drew 4.3 million radio airplay audience impressions, up 18%.
Concurrently, “Break” bolts 5-4 on the Dance/Electronic Digital Song Sales chart and 18-7 on Dance/Electronic Streaming Songs. It spent 10 weeks at No. 1 on each tally, as well as five frames atop Dance/Mix Show Airplay.
David Guetta and Bebe Rexha roll back to No. 1 for a 20th week atop Dance/Electronic Digital Song Sales with “I’m Good (Blue),” The track – nominated for the best dance/electronic recording at the Grammy Awards – sold 9,000 downloads, up 118%. The track ties DJ Snake and Lil Jon’s “Turn Down for What” (2014-15) for the seventh-most weeks at the summit in the chart’s 13-year history; Elton John and Dua Lipa’s “Cold Heart (Pnau Remix)” ruled for a record 44 frames in August 2021-June 2022.
“Good” claims top Sales Gainer honors on Hot Dance/Electronic Songs, racking up a 21st week at No. 1, the ninth-most dating to the chart’s January 2013 premiere. In addition to its sales, “Good” collected 76.9 million airplay impressions and 11 million streams Feb. 3-9.
“Good” also adds a 14th week at No. 1 on Dance/Mix Show Airplay, tying “Cold Heart” and Rihanna’s “We Found Love,” featuring Calvin Harris (2011-12), for the sixth-most weeks on top since the chart’s August 2003 inception; the Chainsmokers’ “Closer,” featuring Halsey, leads with 20 weeks at No. 1 in 2016.
Shifting to Dance/Electronic Streaming Songs, P!nk powers into the top 10 with “Trustfall,” up 12-6 in its second week. Her first top 10 on the chart totaled 4 million streams, up 35%.
Also noteworthy on Dance/Electronic Digital Song Sales is Depeche Mode‘s second-ever showing with “Ghosts Again,” new at No. 12. The Feb. 9-released track, from the band’s album Memento Mori (due March 24), sold 900 downloads in its first day of release. It’s the electronic-rock legends’ second appearance, following their 1990 Billboard Hot 100 No. 8 classic “Enjoy the Silence” (which reached its No. 5 high on Dance/Electronic Digital Song Sales in May 2022).
Ozuna adds a 29th No. 1 to his career count on Billboard‘s Latin Rhythm Airplay chart as “Hey Mor,” featuring Feid, leads the Feb. 18-dated ranking. The song trades places with Bad Bunny and Rauw Alejandro’s “Party,” which slides 1-2 after two weeks in charge.
“Hey Mor” was released Oct. 8 via Aura/Sony Music Latin. It ascends 2-1 in its 10th week with 9.3 million in audience impressions, up 7%, earned in the U.S. in the week ending Feb. 9, according to Luminate.
The song is the sixth single from Ozuna’s fifth studio album OzuTochi which debuted at No. 5 on Top Latin Albums and at No. 4 on Latin Rhythm Albums last October.
“Hey Mor” gives the Latin rhythmic hitmaker his 29th champ on Latin Rhythm Airplay, and steps closer to the lead extending his second-best count of No. 1s among all acts on the 17-year-old chart. Daddy Yankee and J Balvin continue to have the most champs, both with 34 No. 1s. Here’s the leaderboard:
34, Daddy Yankee34, J Balvin29, Ozuna20, Bad Bunny19, Maluma19, Wisin19, Wisin & Yandel
Feid, meanwhile, captures his third No. 1 among seven career appearances. The Colombian’s first offering arrived with “Porfa,” with an all-star team comprising J Balvin, Maluma, Nicky Jam, Sech and Justin Quiles in August 2020. Plus, he locked in his first and only champ as a soloist, unaccompanied by any other act, on Latin Rhythm Airplay with “Normal” in January.
Elsewhere, “Hey Mor” doubles its previous peak on the all-genre Latin Airplay chart, rallying 8-4 in its seventh week. Plus, Feid scores a career best on the overall Billboard Hot 100 ranking, as the song climbs 96-88.
CeCe Winans rolls up her fourth No. 1 on Billboard’s Gospel Airplay chart, as “Goodness of God” tops the tally dated Feb. 18. In the tracking week ending Feb. 9, the song increased by 5% in plays, according to Luminate.
“Goodness” was written by Ed Cash, Ben Fielding, Jason Ingram, Brian Johnson and Jenn Johnson.
“Creating and sharing music that encourages people to not give up and believe for the impossible is what keeps me going,” Winans tells Billboard. “‘Goodness of God’ is a song people identify with because of their personal experience with Him. Regardless of what’s going on around us, He continues to be good.”
Detroit native Winans earns her third Gospel Airplay leader in a row. It follows “Believe for It,” which dominated for two frames starting in January 2022, and “Never Lost,” which led for a week in May 2021. Winans’ debut entry (among 10 chart appearances), “Pray,” reigned for two frames beginning in January 2006. In between her first No. 1 and her latest three leaders, she notched her other top 10, “Never Have To Be Alone” (No. 5, 2017).
Over on Billboard’s Christian Airplay survey, “Goodness” ranks at No. 39 (248,000 audience impressions). Winans has netted one top 10 in her four visits to the chart: “Believe for It” (No. 7, August 2021).
Notably, as barriers weaken among numerous genres, Winans is one of a growing number of artists, alongside the likes of Elevation Worship, Maverick City Music and Tauren Wells, that are actively being promoted to both contemporary Christian and gospel radio.
Submit questions about Billboard charts, as well as general music musings, to askbb@billboard.com. Please include your first and last name, as well as your city, state and country, if outside the U.S.
Or, tweet @gthot20.
Let’s open the latest mailbag.
Miley Cyrus’ Career Streaming, Airplay & Sales Totals
Hi @gthot20 to celebrate @MileyCyrus ‘Flowers,’ could you update Miley’s best-selling albums and most-streamed songs and most-heard hits on radio? Thank you so much!
Miley Cyrus Charts@CyrusOnStats
As of the latest Billboard Hot 100, dated Feb. 18, “Flowers” is Miley Cyrus‘ newly crowned longest-leading No. 1, surpassing the three-week command of “Wrecking Ball” in 2013.
Just four weeks into its Hot 100 run, “Flowers” is also already surging up the ranks of her biggest career hits, in both streaming and radio airplay.
Let’s recap Cyrus’ top songs in those metrics. As for her best-selling albums, three have each passed 1 million in U.S. sales, according to Luminate (through Feb. 9): 2008’s Breakout (1.6 million), 2009’s EP Time of Our Lives (1.5 million) and 2013’s Bangerz (1.2 million).
Miley Cyrus’ Most-Streamed Songs (on-demand, official) in the U.S.:970 million, “Party in the U.S.A.” / 898 million, “Wrecking Ball” / 759 million, “We Can’t Stop” / 468 million, “Malibu” / 463 million, “23” (Mike WiLL Made-It feat. Cyrus, Wiz Khalifa & Juicy J)
363 million, “The Climb” / 356 million, “Midnight Sky” / 316 million, “Adore You” / 233 million, “Nothing Breaks Like a Heart” (Mark Ronson feat. Cyrus) / 220 million, “When I Look at You”
203 million, “Prisoner” (feat. Dua Lipa) / 196 million, “Slide Away” / 182 million, “Flowers” / 169 million, “Mother’s Daughter” / 167 million, “Don’t Call Me Angel (Charlie’s Angel)” (with Ariana Grande & Lana Del Rey)
Miley Cyrus’ Most-Heard Radio Songs in the U.S. (audience impressions):3.6 billion, “Party in the U.S.A.” / 3 billion, “The Climb” / 2.5 billion, “Wrecking Ball” / 1.2 billion, “See You Again” / 943 million, “We Can’t Stop”
774 million, “Ready, Set, Don’t Go” (Billy Ray Cyrus with Miley Cyrus) / 422 million, “Malibu” / 365 million, “Nothing Breaks Like a Heart” / 360 million, “23” / 297 million, “Midnight Sky”
233 million, “Flowers” / 221 million, “Prisoner” / 216 million, “Adore You” / 162 million, “Can’t Be Tamed” / 155 million, “7 Things”
Thus, just a month after its release, “Flowers” is already Cyrus’ 11th biggest hit in total radio airplay audience and her 13th biggest in on-demand streaming.
Could Valentine’s Day give the song an extra boost? Some stats from a source that we don’t regularly cite: the Society of American Florists, the U.S. floral industry trade association, reported last year that the day is the top holiday for buying flowers (ahead of Christmas/Chanukah and Mother’s Day, each in second place). “Flowers” could even impact the breakdown of who is given Valentine’s bouquets, as, per a 2022 poll, “spouse” was the top choice for recipients, followed by “mother” and “significant other.” Next up? “Self.” “Women even treat themselves on Valentine’s Day,” the report noted, previewing Cyrus’ own purchase this year.
Speaking of her collab “23” …
23 More No. 23 Hits for ’23
@gthot20 Can I shout out a 24th No. 23 hit for ’23? Although Kid Rock is pretty polarizing these days, his last big hit “All Summer Long” is always neat to look back on whenever one can. (as well as a certain sound-alike cover that laughably charted higher than the KR original!)— Jake Rivera (@jjr4897) January 2, 2023
Thanks, Jake! Good memory: “Absence of Kid Rock’s radio hit in the digital space opens the door for knock-off version” by Hit Masters, Billboard pointed out when the latter debuted on the Hot 100. That cover hit No. 5 on the Digital Song Sales chart, while Rock’s original climbed to No. 3 on Radio Songs (with top five peaks at pop, country and adult formats). On the Hot 100, they reached Nos. 19 and 23, respectively, in 2008.
For New Year’s Day, we looked at 23 enduring No. 23-peaking Hot 100 hits for 2023, including Bruce Springsteen’s “Born To Run,” No Doubt’s “Just a Girl” and Taylor Swift’s “15.”
In addition to those and yours, how about 23 more? From The Beach Boys to The Beatles, and Rihanna to more Swift, here are another 23 No. 23-peaking Hot 100 hits that remain prominent in ’23.
“In My Room,” The Beach Boys, 1963One of the iconic group’s 35 top 40 Hot 100 hits, a list extended by “Little Saint Nick” this past holiday season.
“Rain,” The Beatles, 1966“Sun” broke through after “Rain”: “Here Comes the Sun,” written by the band’s George Harrison, was released in 1969 (and, despite its classic status, was not made a single from Abbey Road and has never hit the Hot 100).
“Mustang Sally,” Wilson Pickett, 1966Not only was the song a hit in 1966, but that year’s Ford Mustang remains the best-selling of any year for the sleek car.
“Tell Mama,” Etta James, 1968The beloved singer’s legend likely outshines her Hot 100 history: she tallied nine top 40 hits, with “Tell Mama” her highest-charting.
“Rocky Mountain Way,” Joe Walsh, 1973The song brought Walsh to the Hot 100, where he went on to hit a No. 12 high as a soloist in 1978 with “Life’s Been Good.” Plus, The Eagles, with Walsh as a member, notched three No. 1s in 1977-79, including “Hotel California,” punctuated by Walsh and Don Felder’s famed dual-guitar outro.
“Follow You Follow Me,” Genesis, 1978The single became the band’s first top 40 Hot 100 hit, and 16 more followed “Follow.” In 1981, frontman Phil Collins scored his first of 21 top 40 entries as a soloist.
“Come Together,” Aerosmith, 1978The second John Lennon-Paul McCartney composition on this list, after “Rain.” “Come Together” was released from the soundtrack to the kitschy film Sgt. Pepper’s Lonely Hearts Club Band, starring, among others, the Bee Gees, George Burns, Peter Frampton and Steve Martin.
“Stranger in My House,” Ronnie Milsap, 1983One of Milsap’s 49 top 10 hits on the Hot Country Songs chart, it won the Grammy Award for best country song. It was written by Mike Reid, a former NFL Pro Bowler who went on to notch his own No. 1 on the survey as a recording artist with “Walk on Faith” in 1991. (Having also co-penned songs including Bonnie Raitt’s “I Can’t Make You Love Me,” Reid received the NFL Alumni Career Achievement Award in 1996.)
“Moonlighting (Theme),” Al Jarreau, 1987TV theme songs boast their own built-in promotion: Moonlighting, starring Cybill Shepherd and Bruce Willis, was the ninth-most watched show of 1987.
“When We Was Fab,” George Harrison, 1988Following two Beatles songs above, this song, as evident in its title, recounts the Fab Four’s early days.
“Rock and a Hard Place,” The Rolling Stones, 1989The second single from Steel Wheels marks the band’s most recent top 40 Hot 100 hit. (It followed the No. 5-peaking “Mixed Emotions.”)
“Moneytalks,” AC/DC, 1991Among the group’s classic catalog, three songs have crossed over to the Hot 100’s top 40 – with this track the band’s highest charting. It followed two other essentials: “You Shook Me All Night Long” (No. 35, 1980) and “Back in Black” (No. 37, 1981).
“U.N.I.T.Y.,” Queen Latifah, 1994The song, the entertainer’s highest reaching of seven Hot 100 hits, contributed to the Grammy Awards’ high-profile hip-hop celebration Feb. 5.
“Your Woman,” White Town, 1997The song returned as the basis of Dua Lipa’s 2021 hit “Love Again,” while its history dates back (much) further: Its signature instrumental hook was widely popularized in Lew Stone and His Monseigneur Band’s “My Woman” in 1932.
“Smooth Criminal,” Alien Ant Farm, 2001The track amped up Michael Jackson’s No. 7-peaking 1989 hit, the sixth and final top 10 from his album Bad. As Madonna then tallied three top 10s that year (“Like a Prayer,” “Express Yourself” and “Cherish”), the King and Queen of Pop wrapped the ’80s with a leading 17 top 10s each during the decade.
“Hands Clean,” Alanis Morissette, 2002Following Morissette’s haul of hits from 1995’s Jagged Little Pill and 1998’s Supposed Former Infatuation Junkie, this song stands as her biggest since, having also risen to No. 3 on both Adult Alternative Airplay and Adult Pop Airplay. By 2002, she told Billboard, she had learned “when to say ‘no’ and take a step back. It’s not a matter of wielding power; it’s a matter of understanding your limits and controlling the quality of your life.”
“Brave,” Sara Bareilles, 2014The singer-songwriter and actress has scored three top 40 Hot 100 hits, with this empowerment anthem following “Love Song” (No. 4, 2008) and “King of Anything” (No. 32, 2010).
“Prayer in C,” Lillywood & Robin Schulz, 2015The song by the respective French and German acts became a major global hit, reaching No. 1 on charts in (deep breath) Austria, Belgium, Denmark, France, Germany, Greece, Ireland, Italy, Luxembourg, Mexico, the Netherlands, Norway, Portugal, Spain, Switzerland and the U.K.
“The Man,” Taylor Swift, 2019Swift told Billboard in 2019 of the song’s inspiration, “When I go online and hear the stories of my fans talking about their experience in the working world, or even at school, the more we talk about it, the better off we’ll be. And I wanted to make it catchy for a reason – so that they would end up with a song about gender inequality stuck in their heads.”
“Believe It,” PARTYNEXTDOOR & Rihanna, 2020Rihanna’s most recent Hot 100 hit until “Lift Me Up,” which reached No. 2 upon its debut this past November. What might be her next career move?
“ily,” Surf Mesa feat. Emilee, 2020The song reinvented (the chorus of) Frankie Valli’s No. 2-peaking 1967 classic, “Can’t Take My Eyes Off You.”
“The Next Episode,” Dr. Dre feat. Snoop Dogg, 2000“Still D.R.E.,” Dr. Dre feat. Snoop Dogg, 2022Two of Dr. Dre’s signature songs have reached No. 23 on the Hot 100. The latter soared past its prior No. 93 high in late 1999 following the all-star Super Bowl halftime show last year. “You’re talking about at least 3,000 people that you have to depend on to get this show right for 13 minutes,” he said (while offering advice to Rihanna ahead of this year’s concert). “So, it is an extreme amount of pressure, but it’s fun at the same time. When it’s done … I got goosebumps.”
Red Hot Chili Peppers tie Foo Fighters for the most top 10s in the history of Billboard’s Alternative Airplay chart, as “The Drummer” lifts 13-10 on the Feb. 18-dated ranking.
The song becomes the Chili Peppers’ 28th top 10.
The band previously had sole possession of the record before Foo Fighters tied it at 25 in 2020 and surpassed it in 2021, eventually rattling off two more through 2022 to put themselves at 28.
The Chili Peppers caught back up on the strength of “Black Summer,” a four-week No. 1 last year, followed by one-week ruler “Tippa My Tongue” last year and now “The Drummer.”
Most Top 10s, Alternative Airplay
28, Foo Fighters
28, Red Hot Chili Peppers
24, Green Day
23, U2
21, Weezer
19, Pearl Jam
18, The Offspring
17, Linkin Park
17, Muse
17, The Smashing Pumpkins
The Anthony Kiedis-fronted Chili Peppers first reached the Alternative Airplay top 10 in 1989 with “Knock Me Down.” The group is currently the only act in the chart’s 34-year history to have appeared on the survey in each decade of the list’s existence, from the ’80s through the ’20s.
Concurrently, “The Drummer” jumps 28-21 on the all-rock-format, audience-based Rock & Alternative Airplay chart with 1.6 million audience impressions, up 21%, according to Luminate.
The song is the second single from Return of the Dream Canteen, the band’s 13th studio album. It debuted at No. 1 on the Top Rock & Alternative Albums charted dated Oct. 29, 2022, and has earned 130,000 equivalent album units through Feb. 9.
After it won the Grammy Award for song of the year Feb. 5, Bonnie Raitt’s “Just Like That” reaches Billboard’s charts for the first time, debuting on multiple lists dated Feb. 18.
The song even reaches No. 1 on one of the surveys, bowing atop Rock Digital Song Sales with 9,000 downloads sold in the Feb. 3-9 tracking week, a 9,947% increase over a negligible amount the previous period, according to Luminate.
It’s Raitt’s first No. 1 on the chart, which began in 2010. Previously, she reached a No. 3 best in 2020 via her co-bill with John Prine, “Angel From Montgomery,” following Prine’s death.
“That” also debuts at No. 6 on the all-format Digital Song Sales ranking, her first top 10.
Elsewhere, the track is No. 26 on the multi-metric Hot Rock & Alternative Songs chart. In addition to its sales, “That” earned 1.4 million official U.S. streams, a 2,955% boost from 45,000 the previous week.
Raitt’s album of the same name, released in 2022, returns to the Top Rock & Alternative Albums chart at No. 46 with 7,000 equivalent album units earned, up 1,121%. It premiered at No. 6 in May 2022.
The set also re-appears on Americana/Folk Albums at No. 9, after debuting at No. 1 in May 2022.
In all, Raitt’s song catalog jumped 109% in streams, to 5.8 million Feb. 3-9 vs. 2.8 million the previous week. Removing “That” from the equation, it’s still a 62% leap to 4.4 million from 2.7 million.
Meanwhile, one of her classic returns to a Billboard chart: “Something to Talk About,” which debuts at No. 18 on Rock Digital Song Sales (1,000 sold, up 679%). It became a No. 5 hit in 1991 on the Billboard Hot 100, to date her top-performing song on the survey.
The self-written “That” won song of the year honors at the 65th Grammy Awards, marking Raitt’s second big-four category victory, after Nick of Time took album of the year honors in 1990. “That” is also now being promoted to adult alternative radio as the new single from her latest set, after “Made Up Mind” hit No. 17 on Adult Alternative Airplay last April.
Beyoncé’s Renaissance returns to the top 10 of Billboard’s Top Album Sales chart (dated Feb. 18) for the first time in three months, rising 56-10, following the diva’s multiple wins at the Grammy Awards (Feb. 5). The set sold 5,500 copies in the U.S. in the week ending Feb. 9 (up 138%), according to Luminate.
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The album was last in the top 10 on the Oct. 29, 2022-dated list, when it ranked at No. 7.
Renaissance won the Grammy Award for best dance/electronic album (an award presented on-air during the CBS-TV broadcast of the main ceremony) while three of its songs won individual awards. “Break My Soul” won best dance/electronic recording, “Plastic Off the Sofa” took home best traditional R&B performance and “Cuff It” won best R&B song.
Beyoncé won four Grammys on Feb. 5, bringing her total of awards to 32 – breaking the record for the most wins in the Awards’ history (a feat that was promoted extensively during the CBS show).
In total, Beyoncé was nominated for nine Grammys at the ceremony, winning four. She was also up for album of the year (Renaissance), record of the year, song of the year (both for “Break My Soul”), best R&B performance (“Virgo’s Groove”) and best song written for visual media (“Be Alive”).
Elsewhere on Billboard’s album charts, Renaissance runs 30-8 on Top Current Album Sales, 24-11 on the Billboard 200 (its highest rank since the Nov. 12 chart, when it placed at No. 10), 10-5 on Top R&B/Hip-Hop Albums, 4-3 on Top R&B Albums and holds at No. 1 for an 11th week on Top Dance/Electronic Albums.
Billboard’s Top Album Sales chart ranks the top-selling albums of the week based only on traditional album sales. The chart’s history dates back to May 25, 1991, the first week Billboard began tabulating charts with electronically monitored piece count information from SoundScan, now Luminate. Pure album sales were the sole measurement utilized by the Billboard 200 albums chart through the list dated Dec. 6, 2014, after which that chart switched to a methodology that blends album sales with track equivalent album units and streaming equivalent album units. For all chart news, follow @billboard and @billboardcharts on both Twitter and Instagram.
Top Current Album Sales lists the week’s best-selling current (not catalog, or older albums) albums by traditional album sales. Top R&B/Hip-Hop Albums, Top R&B Albums and Top Dance/Electronic Albums rank the week’s most popular R&B/hip-hop, R&B and dance/electronic albums, respectively, by units.
Back on Top Album Sales, TOMORROW X TOGETHER’s The Name Chapter: TEMPTATION, which debuted atop the list a week ago, spends a second week at No. 1, with 43,000 copies sold (down 72%). The set has shifted 195,000 copies in its first two weeks of release – with 98% of that sum from CD sales.
Shania Twain’s new studio album Queen of Me debuts at No. 2 on Top Album Sales with 34,000 sold. It’s the country/pop superstar’s sixth top 10-charting effort on the list.
Taylor Swift’s former leader Midnights is a non-mover at No. 3 on Top Album Sales with 15,500 sold (down 12%).
Harry Styles’ Harry’s House zooms 21-4 with 10,000 sold (up 119%), following its two wins at the Grammy Awards (best pop vocal album and album of the year). Styles also performed the album’s hit single “As It Was” on the CBS broadcast. Meanwhile, best new artist winner Samara Joy reaches the top 10 for the first time as her album Linger Awhile vaults 87-5 with 6,500 sold (up 317%). The set also won the Grammy best jazz vocal album.
The charity compilation A Philly Special Christmas rises 7-6 on Top Album Sales despite a decline in sales (down 31% to 6,000 for the week). It’s the highest charting non-soundtrack compilation since 2020, when the all-star Now 74 set also hit No. 6 (May 16, 2020 chart). (Speaking of the Now That’s What I Call Music! franchise, the new Now 85 compilation debuts on the new chart at No. 13.)
The Philly album continues to perform well thanks to vinyl sales. 65% of its cumulative sales (20,500 of 31,500) are vinyl, with the remainder digital album purchases.
Michael Jackson’s Thriller rises 10-7 on Top Album Sales with nearly 6,000 sold (down less than 1%), Fleetwood Mac’s Rumours rebounds 13-8 with 5,500 (up 4%) and Stray Kids’ former No. 1 MAXIDENT climbs 22-9 with nearly 5,500 (up 21%).
In the week ending Feb. 9, there were 1.778 million albums sold in the U.S. (down 5.6% compared to the previous week). Of that sum, physical albums (CDs, vinyl LPs, cassettes, etc.) comprised 1.414 million (down 8.9%) and digital albums comprised 364,000 (up 9.9%).
There were 606,000 CD albums sold in the week ending Feb. 9 (down 16.2% week-over-week) and 801,000 vinyl albums sold (down 2.4%). Year-to-date CD album sales stand at 3.659 million (up 0.2% compared to the same time frame a year ago) and year-to-date vinyl album sales total 5.299 million (up 25.6%).
Overall year-to-date album sales total 11.037 million (up 6.4% compared to the same year-to-date time frame a year ago). Year-to-date physical album sales stand at 9.009 million (up 13.8%) and digital album sales total 2.029 million (down 17.4%).