Chart Beat
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Bizarrap and Shakira hold strong atop the Billboard Argentina Hot 100 chart as “Bzrp Music Sessions, Vol. 53” leads for a third consecutive week on the Feb. 4-dated ranking.
While Luck Ra’s “Ya No Vuelvas,” featuring La K’Onga and Ke Personajes, remains at No. 2, “Muñecas,” the partnership by TINI, La Joaqui and Steve Aoki, lifts 5-3; the closest La Joaqui and Aoki have been to the top 10 the 100 title-deep chart.
Miley Cyrus’ “Flowers” drops 3-4, while Cris Mj, Duki and Nicki Nicole’s “La Marisola,” featuring Standly, dips 4-5. Plus, Argentinian urban artist BM secures his first top 10 with “M. A. (Mejores amigos)” as the track ascends 13-7 in its ninth week.
The week’s Greatest Gainer honors goes to Lil Cake & Migrantes’ “Mercho,” featuring Nico Valdi, rallies up the chart 64 rankings: from No. 78 to No. 14; the most since Luar La L’s “Calle” also surged 64 positions (90-26) in Aug. 2022.
Elsewhere, Feid’s “Chorrito Pa Las Animas” scores the Hot Shot Debut of the week at No. 78, the Colombian’s 10th entry. Further, Rosalía’s latest single “LLYML” opens at No. 86. Plus, Callejero Fino claims his 11th career entry as “Que Te Vaya Bien” starts at No. 95.
Finally, Ovy On The Drums and Ozuna’s “Chao Bebe” debuts at No. 98.
Kane Brown and Katelyn Brown’s “Thank God” hits the penthouse on Billboard’s Country Airplay chart (dated Feb. 18). In the week ending Feb. 9, the song increased by 7% to 32.6 million in audience, according to Luminate.
“Thank God” marks the first duet for the pair, who married on Oct. 12, 2018. The husband and wife make their ninth and first trips to No. 1 on Country Airplay, respectively.
Notably, the Browns mark the second married couple to go hand-in-hand to the top of Country Airplay with a duet: Tim McGraw and Faith Hill’s “It’s Your Love” led for six weeks in 1997. (Plus, Blake Shelton’s “Boys ‘Round Here,” featuring Pistol Annies – with his then-wife Miranda Lambert – and Friends, reigned for a week in 2013.)
“Thank God” was penned by Christian Davis, Kyle Fishman, Jaxson Free, Josh Hoge and Jared Mullins, and Dann Huff produced.
It’s the third single, and Country Airplay leader, from Brown’s LP Different Man. “One Mississippi” ruled for a week last March and “Like I Love Country Music” led for a week in August. Starting with Brown’s duet with Chris Young, “Famous Friends,” which led for one frame in July 2021, he has rolled up four No. 1s in a row.
The singer-songwriter from northwest Georgia banked his first Country Airplay No. 1 in October 2017 with “What Ifs,” featuring Lauren Alaina.
On the streaming-, airplay- and sales-based Hot Country Songs survey dated Feb. 11, “Thank God” ranked at No. 3, with its airplay Jan. 27-Feb. 2 bolstered by 10.8 million official U.S. streams and 3,000 downloads sold.
The track is also being promoted to pop and adult radio and jumps 33-25 on the Pop Airplay chart and 30-26 on Adult Pop Airplay (both dated Feb. 18).
Top 10 ‘Place’-ment
Bailey Zimmerman scores his second Country Airplay top 10 in as many chart appearances as “Rock and a Hard Place” climbs 11-8 (21.1 million, up 12%). The song follows his “Fall in Love,” which led for a week in December.
All charts dated Feb. 18 will update on Billboard.com Tuesday, Feb. 14.
Ava Max notches her first top 10 on Billboard’s Top Album Sales chart (dated Feb. 11) as her latest release, Diamonds & Dancefloors, debuts at No. 8. The set sold 7,000 copies in the U.S. in the week ending Feb. 2, according to Luminate. The new effort is her second charting title, following the No. 12-peaking Heaven & Hell in 2020.
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Also capturing her first top 10 on Top Album Sales is Elle King, as her new Come Get Your Wife starts at No. 9 with nearly 7,000 sold. She previously topped out at No. 15 in 2018 with Shake the Spirit.
Also in the top 10, TOMORROW X TOGETHER, Grateful Dead, Sam Smith, Bob Dylan and Elle King all arrive with new releases, while Avril Lavigne’s Let Go re-enters the chart in the top 10 after its 20th anniversary reissue on vinyl.
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.
TOMORROW X TOGETHER snags its fourth No. 1 on Top Album Sales – and biggest sales week yet – as The Name Chapter: TEMPTATION enters with 152,000 copies sold.
The Name Chapter: TEMPTATION scores the largest sales week for any album since Taylor Swift’s Midnights debuted at No. 1 with 1.14 million copies sold on the Nov. 5, 2022-dated chart. Of The Name Chapter: TEMPTATION’s 152,000 sold, 98% were CD sales (148,500), while 2% were digital album sales (3,500). The set was not available to purchase in any other configuration (such as vinyl or cassette).
The CD configuration of The Name Chapter: TEMPTATION was issued in collectible packages (14 total, including exclusive editions for Barnes & Noble, Target and the Weverse webstore), each with a standard set of internal paper items and branded randomized mystery elements (photo cards, photo books, post cards). CD sales were also enhanced by autographed editions sold via the act’s webstore.
Grateful Dead’s latest archival live set, Dave’s Picks, Volume 45: Paramount Theatre, Portalnd, OR 10/1/77 & 10/2/77 debuts at No. 2 with 19,000 sold.
Dave’s Picks is the act’s continuing live archival release series, named for the group’s archivist, David Lemieux, that has been going strong since its first release in 2012. Releases in the series are issued exclusively on CD and in limited quantities.
On the Billboard 200 chart, Dave’s Picks, Vol. 45 debuts at No. 18, marking the band’s 55th top 40-charting album on the list. The act continues to have the most top 40 albums among groups since the chart began regularly publishing on a weekly basis in March of 1956. The band also surpasses Barbra Streisand to become the overall act with the third-most top 40-charting albums. The acts with the most top 40 albums on the Billboard 200 are: Frank Sinatra (58), Elvis Presley (58), Grateful Dead (55), Barbra Streisand (54) and Bob Dylan (51). (37 of Grateful Dead’s 55 top 40-charting albums are from the Dave’s Picks series.)
Taylor Swift’s former No. 1 on Top Album Sales, Midnights, falls 2-3 on the latest chart, with 18,000 sold (though up 4%). Sam Smith notches their fourth top 10-charting effort as Gloria bows at No. 4 with 14,000 sold.
Bob Dylan’s Fragments: Time Out of Mind Sessions (1996-1997) debuts at No. 5 on Top Album Sales with 11,000 sold. The effort is part of Dylan’s ongoing “Bootleg Series.” With this archival project, he revisits his 1997 album Time Out of Mind, presenting alternative versions and outtakes of songs from that album, in addition to other rare cuts and live performances.
Avril Lavigne’s debut album Let Go returns to the chart for the first time since 2004, and to the top 10 for the first time since 2003, as the set re-enters at No. 6 with 9,000 sold (up 3,586%). The album was originally released in 2002 and peaked at No. 2 that September. It bounds back onto the tally after it was reissued for its 20th anniversary on vinyl (nearly all of its sales for the week were from its vinyl LP configuration).
A charity effort A Philly Special Christmas vaults 24-7 (a new peak) on Top Album Sales with 9,000 sold (up 182%), largely owed to vinyl LP sales. Across all of its formats, the album has now sold 26,000 copies (15,000 on vinyl and 11,000 on digital download). The Philly album is led by Philadelphia Eagles players Jason Kelce, Lane Johnson and Jordan Mailata, the seven-track set includes renditions of holiday favorites like “White Christmas” and “Santa Claus Is Coming to Town.” All profits from the album benefit Philadelphia’s Children’s Crisis Treatment Center.
Rounding out the top 10 is Michael Jackson’s Thriller, which falls 6-10 with 6,000 sold (though up 10%).
In the week ending Feb. 2, there were 1.883 million albums sold in the U.S. (up 13.9% compared to the previous week). Of that sum, physical albums (CDs, vinyl LPs, cassettes, etc.) comprised 1.552 million (up 18.2%) and digital albums comprised 331,000 (down 2.7%).
There were 723,000 CD albums sold in the week ending Feb. 2 (up 38.3% week-over-week) and 820,000 vinyl albums sold (up 4.9%). Year-to-date CD album sales stand at 3.053 million (up 0.4% compared to the same time frame a year ago) and year-to-date vinyl album sales total 4.499 million (up 28.2%).
Overall year-to-date album sales total 9.260 million (up 7.4% compared to the same year-to-date time frame a year ago). Year-to-date physical album sales stand at 7.595 million (up 15.3%) and digital album sales total 1.664 million (down 18%).
You can’t talk about game changers in the music industry without talking about Rihanna. Whether you know her as the Caribbean Queen, the “good girl gone bad,” RiRi or simply Rih, the Barbadian singer has come a long way since her pre-Roc Nation days. Case in point: Robyn Fenty is the 2023 Super Bowl Halftime Show headliner as the Kansas City Chiefs face off against the Philadelphia Eagles, making her the first headliner since Apple Music took over the Halftime Show.
In 2005, Rih dropped her first single “Pon De Replay” off her debut album, Music of The Sun. At just 17, the singer was already experiencing her first major hit: the reggae-influenced club track peaked at No. 2 on the Billboard Hot 100 and spent 27 weeks on the chart. But she quickly proved she was no one-hit wonder: The following year, her track “SOS” spent three weeks crowning the chart. Now, she has dozens of charting hits under her belt — including 14 No. 1s and features with Drake, Britney Spears, Eminem and more.
Though mainly known as a hitmaker, her talents go beyond music-making — she launched her Fenty Beauty line of cosmetics and skincare products in 2017 and lingerie brand Savage X Fenty in 2018. Plus, RiRi’s fashion consistently turns heads (in the best way possible) — whether she’s red carpet ready or simply taking a stroll around town.
With a Navy of fans who will wait a lifetime for the Barbadian singer’s next release — and her 2023 Super Bowl Halftime Show performance — there’s no doubt that Rihanna has made her mark on music. Take a look back at her biggest hits on the chart below.
Rihanna’s Biggest Billboard Hot 100 Hits ranking is based on weekly performance on the Hot 100 (through Feb. 8, 2023). Songs are ranked based on an inverse point system, with weeks at No. 1 earning the greatest value and weeks at lower spots earning the least. Due to changes in chart methodology over the years, eras are weighted differently to account for chart turnover rates during various periods.
Shania Twain’s long-overdue return to music has been warmly received in Australia, where Queen of Me cracks the top 5 on debut.
Queen of Me is Twain’s six studio LP and first album of new material since Now in 2017, and 2002’s Up before that.
With its No. 5 debut on the ARIA Chart, published Feb. 10, the Canadian country star bags her sixth top 20 in the land Down Under, a feat that includes three leaders — Come On Over (1997), Up, and Now.
The national albums chart is led by Taylor Swift’s Midnights, up 2-1; with SZA’s SOS (up 3-2) and Harry Styles’ Harry’s House — which enjoys a post-Grammys lift (up 6-3) — filling the podium positions respectively.
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Meanwhile, Red Hot Chili Peppers’ recent stadium tour of these parts has seen fans tune in to the California rockers’ classics, and latest. RHCP’s Greatest Hits from 2003 vaults 22 places to break into the top 10 at No. 10, while 2022’s Return Of The Dream Canteen roars 152-31.
Over on the ARIA Singles Chart, Miley Cyrus’ “Flowers” beds down for a fourth consecutive week at No. 1, ahead of SZA’s “Kill Bill” (unchanged at No. 2), and Sam Smith and Kim Petras’ “Unholy,” which enjoys a post-Grammy Awards bump, up 5-3. Also noteworthy is Harry Styles’ “As It Was,” which climbs 15-9 after his winning ways at the Grammys.
The Kid Laroi makes a chart leap with “Love Again,” up 14-6 in its second week. It’s the Sydney-raised singer and rapper’s sixth top 10 single in Australia, a tally that includes leaders “Stay” and “Without You.”
“Love Again” is lifted from his forthcoming debut studio album, The First Time, due out later this year.
Finally, British producer Fred Again created a lot of frenzy in Australia in recent days with a string of “secret” shows which sold out in minutes and had fans scrambling for tickets. The buzz behind those gigs have translated to a new chart peak for “Delilah (pull me out of this),” up 69-37.
Burt Bacharach was a titan on Billboard’s charts and in the music industry at large. The iconic singer/songwriter/producer/composer, who died Wednesday (Feb. 8) at his home in Los Angeles at age 94, charted on Billboard in some capacity in the 1950s, ‘60s, ‘70s and ‘80s, and then, largely via samples and covers, in the ‘90s, ’00s and ‘10s.
The Grammy and Academy Award winner wrote or co-wrote seven No. 1 hits on the Billboard Hot 100 in his lifetime, and they reigned in four distinct decades. Here’s a rundown, listed chronologically:
Artist Billing, Title (Peak Date)Herb Alpert, “This Guy’s in Love With You” (No. 1 for four weeks, beginning June 22, 1968)B.J. Thomas, “Raindrops Keep Fallin’ on My Head” (four, beginning June 3, 1970)Carpenters, “(They Long To Be) Close to You” (four, beginning July 25, 1970)Christopher Cross, “Arthur’s Theme (Best That You Can Do)” (three, beginning Oct. 17, 1981)Dionne & Friends (Elton John, Gladys Knight & Stevie Wonder), “That’s What Friends Are For” (four, beginning Jan. 18, 1986)Patti LaBelle & Michael McDonald, “On My Own” (three, beginning June 14, 1986)Twista feat. Kanye West & Jamie Foxx, “Slow Jamz” (one, Feb. 21, 2004)
“Slow Jamz” contains a sample of Luther Vandross’ 1981 hit “A House Is Not a Home,” which Bacharach penned with frequent collaborator Hal David.
While the majority of Bacharach’s chart entries are as a songwriter or producer, he also tallied hits as a billed recording artist (all sung by chorus vocalists). His songs “Saturday Sunshine” and “I’ll Never Fall in Love Again,” popularized further by Dionne Warwick and Tom Jones, both peaked at No. 93 on the Hot 100, in 1963 and 1969, respectively.
On the Adult Contemporary survey, Bacharach charted four songs as a billed recording act (also all sung by chorus vocalists): “Reach Out for Me” (No. 38 peak, 1967), “I’ll Never Fall in Love Again” (No. 18, 1969), “All Kinds of People” (No. 18, 1971) and “Something Big” (No. 50, 1974).
Bacharach also charted eight sets on the Billboard 200, the highest-charting (No. 18) being his self-titled album in 1971.
Bacharach continued to impact Billboard charts over the last few years: In 2018, he scored his final songwriting entry on the Hot 100, via Meek Mill’s “What’s Free,” featuring Rick Ross and Jay-Z (No. 20 peak). The song samples Richard Evans’ 1972 hit “Close To You,” a cover of the Carpenters’ former No. 1. In October, Richard Marx’s LP Songwriter, which includes the track “Always” that he co-wrote with Bacharach, hit the Top Album Sales tally. “The experience of sitting in a room and writing a song with Burt is something I consider one of the greatest thrills of my life,” Marx mused.
Below is a recap of Bacharach’s most successful songs on the Hot 100 as a songwriter.
Burt Bacharach’s Biggest Billboard Hot 100 hits as a songwriter ranking is based on actual performance on the weekly Hot 100 from the chart’s Aug. 4, 1958, inception through the chart dated Feb. 11, 2023. Songs are ranked based on an inverse point system, with weeks at No. 1 earning the greatest value and weeks at No. 100 earning the least. Due to changes in chart methodology over the years, certain eras are weighted to account for different chart turnover rates over various periods. Additional research via Fred Bronson’s Billboard’s Hottest Hot 100 Hits reference book.
The new No. 1 on Billboard’s Rhythmic Airplay chart, “Creepin’,” yields rewards for all three of its billed acts: Metro Boomin, The Weeknd and 21 Savage. As the single tops the list dated Feb. 11, it gives Metro Boomin his first champ on the list, while The Weeknd ties for the third-most leaders in the chart’s history. Plus, 21 Savage replaces himself atop the list as “Creepin’” ousts his “Rich Flex” collaboration with Drake.
“Creepin,” from Metro Boomin’s Heroes and Villains album, advances from the runner-up spot to reach No. 1 on Rhythmic Airplay in its ninth chart week. The track seals its coronation with a 14% weekly bump in plays that made it the most-played song on U.S. monitored rhythmic radio stations in the week ending Feb. 2, according to Luminate.
For Metro Boomin, the new champ gives the producer his first No. 1 on Rhythmic Airplay from his sixth appearance on the list. His previous best was a No. 6 result for “Mr. Right Now,” a collaboration with 21 Savage that also features Drake.
The Weeknd, meanwhile, collects his 13th No. 1 on the radio chart and enters a four-way race for the third-most leaders among all acts. The Canadian superstar ties Bruno Mars, Chris Brown and Usher for the bronze medal. Here’s an updated look at the leaderboard for the most No. 1s since the chart began in 1992:
37, Drake17, Rihanna13, Bruno Mars13, Chris Brown13, The Weeknd13, Usher12, Beyoncé12, Lil Wayne10, Post Malone
Like his collaborators, 21 Savage also accomplishes a milestone through the current No. 1 as he replaces himself atop the chart. “Creepin’” captures the summit from “Rich Flex,” by Drake & 21 Savage, which falls to No. 2 after a two-week reign. The switch makes 21 Savage is the first artist to self-replace at No. 1 since Drake in 2021, when Yung Bleu’s “You’re Mines Still,” on which he features, ceded to “What’s Next.”
Plus, as his songs occupy the top two spots for a second week, 21 Savage is the first act to have a share of both the Nos. 1 and 2 ranks for consecutive weeks since DaBaby did so for three frames in 2020. Then, the North Carolina native’s “Rockstar,” featuring Roddy Ricch ruled for two weeks with Jack Harlow’s “What’s Poppin’” featuring DaBaby, Tory Lanez and Lil Wayne, in the runner-up spot before the pair swapped in the third week.
If being No. 1 now wasn’t enough, each of this week’s three leading acts also has another Rhythmic Airplay hit bubbling. 21 Savage’s “Rich Flex,” as mentioned, is at No. 2, while The Weeknd’s “Die for You,” a sleeper hit from his 2016 Starboy album, is at No. 3. The track was a Rhythmic Airplay hit in its initial release era and reached No. 16 in 2017, but thanks to attention, first on TikTok before it spread widely to streaming services and radio, reignited a radio campaign for the track that has clearly succeeded with listeners and radio programmers.
Metro Boomin’s new single, “Superheroes and Villains,” with Chris Brown and Future, is also progressing on Rhythmic Airplay. It jumps 37-26 in its second week on the chart, fueled by a 155% improvement in weekly plays.
P!nk lands safely on Billboard’s multimetric Hot Dance/Electronic Songs chart (dated Feb. 11) with “Trustfall” at No. 8. The track, from her forthcoming album of same name, due Feb. 17, debuts as her first top 10 on the survey.
“Trustfall,” which P!nk co-wrote with Fred Again.. and John McDaid, the latter two of whom also produced it, earned 3 million U.S. streams and sold 6,000 downloads Jan. 27-Feb. 2, according to Luminate.
Concurrently, “Trustfall” bows at No. 1 on the Dance/Electronic Digital Song Sales chart, giving P!nk her first leader in her initial appearance. Plus, the track starts at No. 12 on Dance/Electronic Streaming Songs, P!nk’s first entry there, as well.
However, P!nk is no stranger to the Billboard dance charts, having logged seven No. 1s on Dance Club Songs, dating to 2002, and four No. 1s, among seven top 10s, on Dance/Mix Show Airplay since 2003. P!nk has topped Dance/Mix Show Airplay with “U + Ur Hand” (for two weeks in 2007), “So What” (one, 2008), “Raise Your Glass” (two, 2010) and “Blow Me (One Last Kiss)” (one, 2012). (The Dance/Mix Show Airplay chart measures radio airplay on a select group of full-time dance stations, along with plays during mix shows on around 70 top 40-formatted reporters.)
On the Top Dance/Electronic Albums chart, Ava Max debuts at No. 2 with Diamonds & Dancefloors. The pop/dance-leaning set, Max’s inaugural entry on the chart, opens with 15,000 equivalent album units, which also bring it in at No. 34 on the all-genre Billboard 200.
The set yields eight entries on Hot Dance/Electronic Songs, with “Million Dollar Baby,” “Ghost” and “One of Us” leading the way at Nos. 11-13, respectively. “Baby” logged 1.7 million streams (up 33%) and sold 700 downloads (up 71%), the latter sum earning Max a No. 9 beginning on Dance/Electronic Digital Song Sales, where it’s her third top 10.
Max now has 11 Hot Dance/Electronic Songs chart hits, including her track with Tiësto, “The Motto,” which peaked at No. 2 for 10 weeks (behind Elton John and Dua Lipa’s “Cold Heart [PNAU Remix]”) last March-May.
Elsewhere on the Top Dance/Electronic Albums chart, SG Lewis logs his third appearance with AudioLust & HigherLove (No. 13, 2,800 units). The set contains two Hot Dance/Electronic Songs hits that each peaked in October: “Call on Me,” with Tove Lo (No. 27 high), and “Vibe Like This,” with Ty Dolla $ign and Lucky Daye (No. 31).
Next up on Top Dance/Electronic Albums come Cheat Codes with country crossover set One Night in Nashville (No. 14, 2,700 units). It’s the act’s first appearance on the chart, although it follows 27 entries, including three top 10s, on Hot Dance/Electronic Songs, since 2015. Collabs from the new album “Something’s Coming,” with Lady A, and “What’s It Gonna Take,” with Mitchell Tenpenny, start on that tally, at Nos. 24 and 33, respectively.
Returning to the Dance/Mix Show Airplay chart, Imanbek earns his second top 10 as a billed recording artist and Jay Sean scores his first with “Gone (Da Da Da)” (11-9). Previously, Imanbek lifted to No. 4 with “Goodbye,” with Goodboys (March 2021). Plus, his remix of SAINt JHN’s “Roses” spent three frames at No. 2 in April 2020. “Gone” is getting core-dance airplay at Music Choice’s Dance/EDM channel, KMVQ-HD2 San Francisco and WZFL (Revolution 93.5, All Things Dance) Miami, among other outlets.
Additionally on Dance/Mix Show Airplay, Miley Cyrus vaults to her third top 10 with “Flowers” (25-10). The pop track, also in its third week at No. 1 on the all-genre Billboard Hot 100, utilizes remixes from Addal, Dark Intensity and others in attaining core-dance airplay on SiriusXM’s Diplo’s Revolution, SiriusXM’s BPM and more.
Linda Ronstadt’s “Long Long Time” tops multiple Billboard charts more than 50 years after its release, thanks to its inclusion in a recent episode of HBO’s The Last of Us.
“Time,” originally released on Ronstadt’s 1970 album Silk Purse, bows at No. 1 on the Rock Digital Song Sales, LyricFind U.S. and LyricFind Global rankings dated Feb. 11.
The LyricFind Global and LyricFind U.S. charts rank the fastest momentum-gaining tracks in lyric-search queries and usages globally and in the U.S., respectively, provided by LyricFind. The Global chart includes queries from all countries, including the U.S. The company is the world’s leader in licensed lyrics, with data provided by more than 5,000 publishers and utilized by more than 100 services, including Amazon, Pandora, Deezer, Microsoft, SoundHound and iHeartRadio.
After its synch in the Jan. 29 episode of the show, “Time” garnered lyric search and usage increases of 3,013% in the U.S and 2,074% globally in the Jan. 30-Feb. 5 tracking week, according to LyricFind.
Additionally, in the tracking period running Jan. 27-Feb. 2, the song earned 6,000 downloads in the U.S., according to Luminate, enough to place it atop the Rock Digital Song Sales ranking. Its jump was 11,181% from a negligible amount the prior week.
As previously reported, “Time” also appears at No. 6 on the Hot Trending Songs chart, powered by Twitter, for Feb. 11.
Its gains weren’t limited to sales, social media chatter and lyric usages. In the U.S., “Time” saw a 1,042% lift in official streams in the Jan. 27-Feb. 2 frame, to 903,000 streams from 79,000 the previous period.
The No. 1s mark the first rule on a Billboard chart for “Time,” which peaked at No. 25 on the Billboard Hot 100 in October 1970.
Its parent album, Silk Purse, also peaked at No. 103 on the Billboard 200 in November of that year.
It’s the second synch success for The Last of Us on the Billboard charts, following Depeche Mode‘s “Never Let Me Down Again,” which returned to multiple rankings after being heard in the series premiere two weeks prior.
The 2023 Grammy Awards (Feb. 5) helped push major sales and streaming gains for winners such as Brandi Carlile, Samara Joy and Bonnie Raitt, among others, in the wake of the 65th annual show.
It’s expected that the weekly Billboard charts dated Feb. 18, which reflect the sales and streaming tracking week ending Feb. 9, will feature a number of titles that post gains thanks to exposure earned from Grammys. News on such gains is scheduled to be reported as early as Feb. 12 on Billboard.com.
Generally speaking, those songs and albums that saw the most eye-catching gains immediately following the Grammy Awards are those that had a lower-profile than the more well-known hits that have been chart hits for months. Essentially, those songs and albums (and artists) that were unfamiliar to the audience watching at home and online had much more room to grown than a well-known hit.
The Grammy Awards aired live on CBS-TV, and was also streamed on Paramount+ and CBS.com. Earlier in the day on Feb. 5, previous to the Grammy Awards, the bulk of the 91 Grammy Awards were presented during the Premiere Ceremony, which streamed live on Grammy.com.
All data comparisons below are for Feb. 5-6 (the day of the show and the day after) versus the two days prior, Feb. 3-4, in the U.S., according to initial reports to data tracking firm Luminate.
Carlile’s “Broken Horses,” which she performed on the Grammy Awards, garnered a 379% gain in on-demand official U.S. streams on Feb. 5-6 as compared to Feb. 3-4. On Feb. 5-6, the track captured 130,000 streams – up from 27,000 in the two days prior. Further, “Broken” logged a 9,273% increase in track sales, rising to 1,500 sold on Feb. 5-6 (up from a negligible sum on Feb. 3-4).
“Broken Horses” won two Grammy Awards — for best rock performance and best rock song. Both trophies were presented during the Premiere Ceremony.
Samara Joy – who won best new artist (presented during the Grammy Awards on CBS) and best jazz vocal album (for Linger Awhile, presented during the Premiere Ceremony) – saw robust gains for Linger Awhile. The album earned nearly 4,000 equivalent album units on Feb. 5-6 in the U.S. (up 675% compared to about 500 in the two days prior).
Of the Feb. 5-6 unit sum for Linger Awhile, traditional album sales comprised a little over 3,000 (up 775% compared to the under 500 sales it generated on Feb. 3-4). The album’s collected songs generated 900,000 on-demand official streams on Feb. 5-6 (up 381% compared to the 187,000 they earned on Feb. 3-4).
Linger Awhile has so far peaked at No. 2 on Billboard’s overall Jazz Albums chart and No. 2 on the Traditional Jazz Albums chart. The album has yet to reach the all-genre Billboard 200 chart.
Bonnie Raitt’s “Just Like That” – which won song of the year – snared a 3,387% increase in on-demand official streams on Feb. 5-6, rising to 777,000 (up from 23,000 in the two days prior). In terms of track sales, the song sold 6,000 on Feb. 5-6 (up 8,001% compared to the negligible sum it sold on Feb. 3-4). “Just Like That” also won the Grammy for American Roots Song, which was presented during the Premiere Ceremony.
Raitt additionally performed on the CBS broadcast, but didn’t sing her own song – she sang Fleetwood Mac’s “Songbird,” as part of the In Memoriam segment, in tribute to the late Christine McVie (the writer and vocalist of the original version of “Songbird”).
It’s likely that most viewers watching the CBS broadcast of the show learned about “Just Like That” for the first time, as the song has yet to chart on any U.S. Billboard song chart. Its parent album of the same name spent one week on the Billboard 200, debuting and peaking at No. 44 on the May 2, 2022-dated chart.
The Just Like That album earned nearly 3,500 equivalent album units on Feb. 5-6 (up 1,283% compared to the negligible sum it earned on Feb. 3-4). Of that sum, traditional album sales comprised 2,000 (up 1,021% compared to the negligible sales it had on Feb. 3-4). Finally, the Just Like That album saw its collected songs garner 1.1 million on-demand official streams on Feb. 5-6 (up 1,504% compared to the 69,000 it collected on Feb. 3-4).
Others who saw notable gains include Lizzo’s record of the year-winning “About Damn Time,” DJ Khaled’s “God Did” (a nominee and performed song), Harry Styles’ “As It Was” and Harry’s House (the former was performed and nominated for multiple awards, while the latter won album of the year), Sam Smith and Kim Petras’ “Unholy” (winner of best pop duo/group performance, and it was performed) and Beyoncé’s Renaissance (winner of best dance/electronic album).
“About Damn Time” logged a 9% gain in on-demand official streams on Feb. 5-6 (rising to 1.56 million), and posted a 590% sales increase (selling 3,000; up from less than 500 in the two previous days). “About Damn Time” was performed in a medley on the CBS show by Lizzo, along with “Special.” The latter song collected 251,000 on-demand streams on Feb. 5-6 (up 36%) and sold 1,000 downloads (up 1,264%).
DJ Khaled’s “God Did,” which was the closing performance of the CBS show, scored 489,000 on-demand official streams on Feb. 5-6 (up 59%) and sold 1,000 downloads (up 2,000%).
“As It Was,” which was a nominee and a performed song on the CBS-TV broadcast, nabbed a 17% gain in on-demand official streams on Feb. 5-6 (rising to 3.21 million), and a 593% sales gain (climbing to 4,000 sold).
Harry’s House, which won album of the year and best pop vocal album (both of which were presented during the CBS show), collected a 55% increase in equivalent album units earned (12,000 on Feb. 5-6), of which 3,000 were in traditional album sales (up 115%). The album’s songs generated 11 million on-demand official streams on Feb. 5-6 (up 35%).
“Unholy,” which won the Grammy for best pop duo/group performance and was performed on the CBS show, posted a 493% gain in sales on Feb. 5-6 (rising to 5,000 sold; up from 1,000 in the two previous days). In terms of on-demand official streams, it notched a 4% gain, rising to 4.58 million (up from 4.39 million). “Unholy” hit No. 1 on the Hot 100 last October – the first for both Smith and Petras – and has been a fixture in the top 10 of the chart each week since mid-November.
Beyoncé’s Renaissance, which won best dance/electronic album (presented during the CBS show), nabbed a 124% gain in traditional album sales (rising to 2,000 sold on Feb. 5-6) while its collected songs generated 8.6 million on-demand official streams (up 18%).