Chart Beat
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In its 40th week on the chart, Zach Bryan’s “Something in the Orange” tops Billboard’s Hot Rock & Alternative Songs survey for the first time, lifting from No. 2 to No. 1 on the ranking dated Feb. 4.
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“Orange” accumulated 17.2 million official U.S. streams (up 2%), 4.7 million radio airplay audience impressions (up 5%) and 4,000 downloads sold (up 1%) in the Jan. 20-26 tracking week, according to Luminate.
The song’s 40-frame trip to No. 1 is tied for the fourth-steadiest in the history of the chart, which began in 2009, alongside the rise of Bastille’s “Pompeii” in 2014. The only songs to build support over longer stretches? Glass Animals‘ “Heat Waves” (60 weeks, 2020-21), twenty one pilots‘ “Ride” (47, 2015-16) and Passenger’s “Let Her Go” (43, 2013-14).
Most Time to No. 1 From Debut on Hot Rock & Alternative Songs60 weeks, “Heat Waves,” Glass Animals (first week at No. 1 in 2021)47, “Ride,” twenty one pilots (2016)43, “Let Her Go,” Passenger (2014)40, “Something in the Orange,” Zach Bryan (2023)40, “Pompeii,” Bastille (2014)39, “Hey Look Ma, I Made It,” Panic! at the Disco (2019)39, “Whatever It Takes,” Imagine Dragons (2018)35, “Stressed Out,” twenty one pilots (2016)32, “Ex’s & Oh’s,” Elle King (2015)30, “Feel It Still,” Portugal. The Man (2017)
“Orange” is Bryan’s first No. 1 on the chart. Bryan first made the tally in 2020 with “Heading South,” which eventually peaked at No. 27 in March 2021.
“Orange” concurrently spends its fifth week atop the Hot Country Songs list. On the all-format Billboard Hot 100, it rises 13-11, after reaching No. 10 two weeks earlier. It also bullets at its No. 27 high on Country Airplay with 4.2 million impressions (up 5%).
“Orange” is the lead radio single from American Heartbreak, Bryan’s third studio album and major-label debut, released on Belting Bronco/Warner Records. The set debuted and peaked at No. 5 on the Billboard 200 last June 4 and ranks at No. 9 on the latest survey with 23,000 equivalent album units earned. It has earned 1.2 million units to date.
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Miley Cyrus’ “Flowers” remains the biggest song in the world, as it adds a second week at No. 1 on both the Billboard Global 200 and Billboard Global Excl. U.S. charts. As it gains in streams, it notches the biggest worldwide streaming week for a soloist, and the second-greatest week overall, since the Global 200 began in September 2020.
The Billboard Global 200 and Billboard Global Excl. U.S. charts rank songs based on streaming and sales activity culled from more than 200 territories around the world, as compiled by Luminate. The Global 200 is inclusive of worldwide data and the Global Excl. U.S. chart comprises data from territories excluding the U.S.
Chart ranks are based on a weighted formula incorporating official-only streams on both subscription and ad-supported tiers of audio and video music services, as well as download sales, the latter of which reflect purchases from full-service digital music retailers from around the world, with sales from direct-to-consumer (D2C) sites excluded from the charts’ calculations.
‘Flowers’ Logs Second-Biggest Global 200 Streaming Week
“Flowers” holds at No. 1 on the Billboard Global 200 with 217.1 million streams (up 21%) and 107,000 sold (up 12%) worldwide in its second full tracking week, Jan. 20-26 (after it arrived Jan. 12 at 7 p.m. EST).
A week after the song claimed the greatest global streaming week for a soloist, and the third-biggest frame among all acts, since the Global 200 began in September 2020, it now boasts the second-biggest week overall.
Biggest Worldwide Streaming Weeks in Global 200 History:289.2 million, “Butter,” BTS, June 5, 2021217.1 million, “Flowers,” Miley Cyrus, Feb. 4, 2023212.1 million, “Pink Venom,” BLACKPINK, Sept. 3, 2022179.1 million, “Flowers,” Miley Cyrus, Jan. 28, 2023178.2 million, “Easy on Me,” Adele, Oct. 30, 2021170.8 million, “Permission To Dance,” BTS, July 24, 2021169.8 million, “Butter,” BTS, June 12, 2021152.8 million, “Shut Down,” BLACKPINK, Oct. 1, 2022152.6 million, “Lalisa,” Lisa, Sept. 25, 2021152.5 million, “Life Goes On,” BTS, Dec. 5, 2020
Cyrus first announced during her Miley’s New Year’s Eve Party NBC special that “Flowers” would be released Jan. 13, which fans noticed doubles as her ex-husband Liam Hemsworth’s birthday. That juicy narrative and fervent interaction on TikTok have helped swell the profile of the song, which introduces Cyrus’ eighth studio album, Endless Summer Vacation, due March 10.
Bizarrap and Shakira’s “Bzrp Music Sessions, Vol. 53” holds at its No. 2 Global 200 high; SZA’s “Kill Bill” keeps at No. 3 after two weeks on top; Rema and Selena Gomez’s “Calm Down” repeats at No. 4 after reaching No. 3; and Sam Smith and Kim Petras’ “Unholy” rises 6-5, after it notched four weeks at the summit in October.
Cyrus Also No. 1 for Second Week on Global Excl. U.S.
As on the Global 200, “Flowers” crowns the Billboard Global Excl. U.S. chart for a second week, with 162.4 million streams (up 26%) and 45,000 sold (up 20%) outside the U.S. Jan. 20-26.
The rest of the Global Excl. U.S. chart’s top five also holds in place, with Bizarrap and Shakira’s “Bzrp Music Sessions, Vol. 53” at its No. 2 best; SZA’s “Kill Bill” at No. 3 after reaching No. 2; Rema and Selena Gomez’s “Calm Down” at No. 4, after two weeks at the summit; and David Guetta and Bebe Rexha’s “I’m Good (Blue)” at No. 5, after it hit No. 2 in September.
The Billboard Global 200 and Billboard Global Excl. U.S. charts (dated Feb. 4, 2023) will update on Billboard.com tomorrow (Jan. 31). For both charts, the top 100 titles are available to all readers on Billboard.com, while the complete 200-title rankings are visible on Billboard Pro, Billboard‘s subscription-based service. For all chart news, you can follow @billboard and @billboardcharts on both Twitter and Instagram.
Luminate, the independent data provider to the Billboard charts, completes a thorough review of all data submissions used in compiling the weekly chart rankings. Luminate reviews and authenticates data. In partnership with Billboard, data deemed suspicious or unverifiable is removed, using established criteria, before final chart calculations are made and published.
Miley Cyrus’ “Flowers” holds at No. 1 on the Billboard Hot 100, reigning for a second frame a week after it soared in at the summit, as it continues its dominance in both streaming and sales.
Meanwhile, David Guetta and Bebe Rexha’s “I’m Good (Blue),” at No. 6 on the Hot 100, becomes the most-heard song on radio, reaching the top of the Radio Songs chart, and JVKE scores his first Hot 100 top 10 as “Golden Hour” rises from No. 11 to No. 10.
The Hot 100 blends all-genre U.S. streaming (official audio and official video), radio airplay and sales data. All charts (dated Feb. 4, 2023) will update on Billboard.com tomorrow (Jan. 31). For all chart news, you can follow @billboard and @billboardcharts on both Twitter and Instagram.
“Flowers,” released on Smiley Miley/Columbia Records, drew 59.8 million streams (up 14%, good for the Hot 100’s top Streaming Gainer award) and 40.8 million radio airplay audience impressions (up 22%) and sold 65,000 (down 6%) in its second full tracking week, Jan. 20-26, according to Luminate (after it arrived Jan. 12 at 7 p.m. EST).
The single spends a second week at No. 1 on both the Streaming Songs and Digital Song Sales charts and surges 18-11 on Radio Songs.
Cyrus first announced during her Miley’s New Year’s Eve Party NBC special that “Flowers” would be released Jan. 13, which fans recognized as her ex-husband Liam Hemsworth’s birthday. That narrative and interaction on TikTok have helped grow the profile of the song, which ushers in Cyrus’ eighth studio album, Endless Summer Vacation, due March 10.
Propelled in part by that buzz, “Flowers” boasts the greatest weekly streaming sum since Drake’s “Way 2 Sexy,” featuring Future and Young Thug, totaled 67.3 million (Sept. 18, 2021).
“Flowers” is also the first song with consecutive weeks of 50 million or more streams in two years, since Olivia Rodrigo’s “Drivers License” arrived with 76.1 million and followed with 59.7 million (Jan. 23, 30, 2021).
Plus, with its gain from 52.6 million to 59.7 million weekly streams, “Flowers” is the first song to post at least 50 million streams in a week and gain the following frame in over three years, since Roddy Ricch’s “The Box” increased from 68.2 million to 77.2 million (Jan. 18, 25, 2020).
SZA’s “Kill Bill” ranks at its No. 2 Hot 100 best for a third week, with 38 million in radio reach (up 29%), 34.1 million streams (down 2%) and 2,000 sold (down 17%). It tops Hot R&B/Hip-Hop Songs and Hot R&B Songs, which use the same methodology as the Hot 100, for a seventh week each. The song is from her album SOS, which adds a seventh week at No. 1 on the Billboard 200.
Taylor Swift’s “Anti-Hero” repeats to No. 3 on the Hot 100, after leading for a personal-best eight weeks; Metro Boomin, The Weeknd and 21 Savage’s “Creepin’” is steady at its No. 4 high, as it wins the chart’s top Airplay Gainer trophy (67.2 million, up 16%); and Sam Smith and Kim Petras’ “Unholy” keeps at No. 5, after it ruled for a week in October.
David Guetta and Bebe Rexha’s “I’m Good (Blue)” holds at No. 6 on the Hot 100 after reaching No. 4, as it ascends to No. 1 on Radio Songs (85 million, up 2%). Guetta claims his first Radio Songs leader (among seven top 10s), while Rexha earns her second (among four top 10s), after “Meant To Be,” with Florida Georgia Line, dominated for five weeks in 2018. (The song that “I’m Good” prominently interpolates, Eiffel 65’s “Blue [Da Ba Dee],” hit No. 6 on Radio Songs in 2000.)
“I’m Good” tops the Pop Airplay chart for a second week and rises to No. 1 on Adult Pop Airplay, where it becomes Guetta’s first champ and Rexha’s second (likewise after “Meant To Be”). “I’m Good” leads the multi-metric Hot Dance/Electronic Songs chart for a 19th week.
The Weeknd’s “Die for You” keeps at No. 7 on the Hot 100, after hitting No. 6; Drake and 21 Savage’s “Rich Flex” is a non-mover at No. 8, after it reached No. 2, as it tops the multi-metric Hot Rap Songs chart for an 11th week; and Harry Styles’ “As It Was” rebounds 10-9 on the Hot 100, following 15 weeks at No. 1 beginning last April, the fourth-longest reign in the chart’s history.
Rounding out the Hot 100’s top tier, JVKE achieves his first top 10, with his initial entry, as “Golden Hour” climbs 11-10 with 29.1 million in radio reach (up 4%), 14 million streams (essentially even week-over-week) and 2,000 sold (up 2%).
Released on JVKE’s eponymous independent imprint, the ballad is being promoted by Sony Music Entertainment’s AWAL label, which notches its first Hot 100 top 10. Prior to “Golden Hour,” AWAL hit a No. 27 best via Lauv’s “I Like Me Better” in 2018.
“Golden Hour” concurrently becomes the first top 10 for Rhode Island native JVKE (born Jake Lawson), who broke through thanks in part to traction on TikTok, on the Pop Airplay chart (11-10). It’s his second title to make the tally, after “This Is What Falling in Love Feels Like” reached No. 35 last July.
(Small state, big hits: Other acts to score chart success with Rhode Island origins include Bill Conti, whose Rocky theme song “Gonna Fly Now” topped the Hot 100 for a week in 1977; John Cafferty & The Beaver Brown Band, whose “On the Dark Side,” from the film Eddie and the Cruisers, rose to No. 7 in 1984; and Blu Cantrell, whose “Hit ‘Em Up Style [Oops!]” reached No. 2 in 2001.)
Again, for all chart news, you can follow @billboard and @billboardcharts on both Twitter and Instagram and all charts (dated Feb. 4), including the Hot 100 in its entirety, will refresh on Billboard.com tomorrow (Jan. 31).
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.
The Reytons finally rock on to No. 1 in the U.K. with What’s Rock And Roll? (via The Reytons), their third LP.
The South Yorkshire-formed indie group, comprising Jonny Yerrell, Lee Holland, Joe O’Brien and Jamie Todd, blast to the summit of the Official U.K. Albums Chart with What’s Rock And Roll?, the market’s best-seller on wax.
It’s a career high for the band, whose previous albums both cracked the top 40 — 2021’s May Seriously Harm You And Others Around (No. 27) and Kids Off The Estate (No. 11).
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“This is everything,” says frontman Jonny Yerrell in a victory post. “The door’s wide open. We’re about to change everything. No label, no backing, all Reytons.”
Further down the list, 2021 Eurovision winners Måneskin snag their first top 5 appearance with Rush! (Columbia). It’s new at No. 5.
The rockers — Damiano David, Victoria De Angelis, Ethan Torchio and Thomas Raggi — made history when, in June 2021, they landed two singles in the U.K. top 10 (“I Wanna Be Your Slave” and the cover “Beggin’”), becoming the first Italian act to do so. Måneskin previously impacted the Official U.K. Albums Chart with Teatro d’ira – Vol. I (No. 49), also from 2021.
Meanwhile, Black Star Riders bag a second top 10 with their fifth set Wrong Side Of Paradise (Earache). It’s new at No. 6 on the latest chart, published Jan. 27.
Featuring several members of Thin Lizzy, Black Star Riders bagged top 40 appearances with each of their previous four LPs: 2013’s All Hell Breaks Loose (No. 25), 2015’s The Killer Instinct (No. 13), 2017’s Heavy Fire (No. 6) and 2019’s Another State Of Grace (No. 14).
Dublin outfit The Murder Capital miss out on the top 10, but still score a career-best with Gigi’s Recovery (Human Season), new at No. 16.
Finally, electronic-leaning veterans Ladytron make a long-overdue appearance on the chart with Time’s Arrow (Cooking Vinyl). It’s new at No. 67, a new career high. Time’s Arrow is the group’s fourth appearance on the survey, and first in almost twelve years.
Miley Cyrus now has a bunch of U.K. No. 1s with “Flowers”.
The post-disco hit blooms with upwards of 121,000 chart units, the Official Charts Company reports, to lead the national chart for a second week.
That volume outperforms the first week for “Flowers,” and includes over 13 million streams, making it the market leader in that format for the second straight week.
A hit around the world, “Flowers” becomes Cyrus’ longest-running U.K. No. 1 single, besting her previous leaders “We Can’t Stop” and “Wrecking Ball,” which each logged a single week at the chart summit in 2013.
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Further down the list, published Jan. 27, Afrobeats star Rema bags a new chart beat with “Calm Down” (Mavin), up 8-6, while Headie One has the week’s highest new entry on the chart, with “Martin’s Sofa” (Relentless). It’s new at No. 9, for the London rapper and songwriter’s fifth top 10 appearance — and first as a solo artist.
Miguel’s TikTok-powered revival is in full swing, as “Sure Thing” (Jive) lifts into the top 10. It’s up 11-10, for the U.S. artist’s first appearance in the top tier. “Sure Thing” first dropped in 2010, and has grown wings that’s to its viral turn on the short-video platform.
Also on the climb is Irish singer-songwriter Cian Ducrot with “I’ll Be Waiting” (up 22-19 via Polydor), Mimi Webb’s “Red Flags” (up 23-21 via Epic); and Coi Leray “Players up 19” (up 45-26 via Uptown/Republic Recordings), for the rising U.S. artist’s first U.K. top 40 appearance.
Sabrina Carpenter’s viral, love-struck number “Nonsense” (Island) is making its move on the U.K. It’s the week’s biggest gainer, charging 38 places to No. 32, for the U.S. pop singer’s second top 40 (her 2021 release “Skin” reached No. 28).
Finally, Ed Sheeran makes his 68th impression on the U.K. top 75 with “F64” (Atlantic), his tribute to his late friend Jamal Edwards, the founder of SBTV who died in February 2022, at the age of 31. “F64” bows at No. 50 on the national survey.
SZA’s SOS racks up a seventh consecutive week at No. 1 on the Billboard 200 chart (dated Feb. 4) – the entirety of its chart run. The last album by a woman with seven weeks at No. 1 was Taylor Swift’s Folklore, more than two years ago, as it notched its eighth and final week atop the list on the chart dated Oct. 31, 2020.
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SOS earned 111,000 equivalent album units in the U.S. in the week ending Jan. 26 (down 7%), according to Luminate.
Also in the top 10 of the latest Billboard 200 chart: Trippie Redd logs his seventh top 10-charting effort with the No. 3 debut of Mansion Muzik, while HARDY clocks his first top 10 with the No. 4 arrival of The Mockingbird & The Crow.
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. 4, 2023-dated chart will be posted in full on Billboard‘s website on Jan. 31. For all chart news, follow @billboard and @billboardcharts on both Twitter and Instagram.
Of SOS’ 111,000 equivalent album units earned in the week ending Jan. 26, SEA units comprise 109,500 (down 7%, equaling 148.87 million on-demand official streams of the set’s tracks), album sales comprise 1,000 (up 37%) and TEA units comprise 500 units (down 8%).
In the last year, only three albums have spent at least seven weeks at No. 1: SOS, Bad Bunny’s Un Verano Sin Ti (13 nonconsecutive weeks) and the Encanto soundtrack (nine nonconsecutive weeks).
Here are a few statistics about SOS’ seven-week run at No. 1 on the Billboard 200:
SZA Meets Whitney in Chart History: SOS is the first R&B/hip-hop album by a woman, or R&B album by any act, to spend its first seven weeks at No. 1 since Whitney Houston’s Whitney in 1987. The latter debuted at No. 1 on the June 27, 1987-dated list and spent its first 11 weeks at No. 1 (its total run at No. 1). Whitney was the first R&B/hip-hop album by a woman, or R&B album by a woman, to debut at No. 1 on the Billboard 200 chart.
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.
Drake’s Views was the last R&B/hip-hop set to spend its first seven weeks at No. 1 — it spent its first nine weeks at No. 1 (May 21-July 16, 2016 charts).
Most Consecutive Weeks at No. 1 in Nearly a Year: The last album, regardless of genre classification, with seven weeks in a row at No. 1 on the Billboard 200 was the Encanto soundtrack, with eight straight weeks atop the list (Jan. 29-March 19, 2022-dated charts). The Encanto soundtrack spent a total of nine weeks at No. 1, as it logged one earlier frame at No. 1 on the Jan. 15, 2022 chart.
The last album by a woman with seven consecutive weeks at No. 1 was Adele’s 25, which spent its first seven weeks at No. 1 in late 2015 and early 2016 (Dec. 12, 2015-Jan. 23, 2016). 25 spent 10 total nonconsecutive weeks at No. 1.
Most Weeks at No. 1 for an Album by a Woman Since 2020: Taylor Swift’s Folklore was the last album by a woman to score seven weeks atop the list. The album topped the list for its first six weeks (Aug. 8-Sept. 12, 2020) and then returned for two more nonconsecutive weeks (Oct. 3 and Oct. 31, 2020).
‘SOS’ Is the First Album by a Woman With its First Seven Weeks at No. 1 Since 2016: Adele’s 25 was the last album by a woman to spend its first seven weeks on the chart at No. 1. The 25 album ruled the list in its first seven weeks (Dec. 12, 2015-Jan. 23, 2016) and then logged three more later frames at No. 1, for a total of 10 nonconsecutive weeks at No. 1. (The last album with its first seven weeks at No. 1 was Morgan Wallen’s Dangerous: The Double Album, which spent it first 10 weeks at No. 1 [its total run at No. 1] from the Jan. 23-March 27, 2021-dated charts.)
Only Three Women Have Had Albums With Seven Weeks at No. 1 in the Last 20 Years: In the last two decades – from February 2003 through the latest chart – only three women have spent at least seven weeks at No. 1 on the Billboard 200 chart. Before SZA’s SOS, there was Swift’s Folklore (eight weeks, 2020), Adele’s 25 (10, 2015-16), Swift’s 1989 (11, 2014-15), Adele’s 21 (24, 2011-12) and Swift’s Fearless (11, 2008-09). Before Fearless, the last album by a woman with seven weeks at No. 1 was Alanis Morissette’s Jagged Little Pill, with 12 weeks in 1995-96.
Most Weeks at No. 1 for an R&B/Hip-Hop Album Since Drake’s ‘Views’ in 2016: The last R&B/hip-hop album with seven weeks atop the list was Drake’s Views, which spent 13 nonconsecutive weeks at No. 1 (May 21-Oct. 8, 2016). Views was also the last R&B/hip-hop set to spend its first seven weeks at No. 1 (it spent its first nine weeks at No. 1: May 21-July 16, 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 Music Box spent eight nonconsecutive weeks at No. 1 in late 1993 and early 1994. 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.
At No. 2 on the new Billboard 200, Swift’s former No. 1 Midnights is a non-mover with 67,000 equivalent album units earned (down 8%). It has spent the entirety of its 14 weeks on the chart inside the top two. The last album by a woman to spend its first 14 weeks at either Nos. 1 or 2 was Swift’s own 1989, with its first 15 weeks in the top two (Nov. 15, 2014-Feb. 21, 2015).
Trippie Redd notches his seventh top 10-charting effort on the Billboard 200 as Mansion Muzik debuts at No. 3 with 56,000 equivalent album units earned. Of that sum, SEA units comprise 50,000 (equaling 68.1 million official on-demand streams of the set’s 25 tracks), album sales comprise 5,000 and TEA units comprise 1,000. Mansion Muzik is the hip-hop artist’s seventh consecutive top five-charting effort, stretching back to 2018’s Life’s a Trip, which debuted and peaked at No. 4 (Aug. 25, 2018-dated chart).
HARDY hits the top 10 of the Billboard 200 for the first time as his new double album The Mockingbird & The Crow arrives at No. 4 with 55,000 equivalent album units earned – easily his best week ever in terms of units. Of the starting sum, SEA units comprise 34,000 (equaling 44.68 million official on-demand streams of the set’s 17 tracks), album sales comprise 19,500 and TEA units comprise 1,500. The half-country/half-rock project includes guest turns from Jeremy McKinnon (of A Day To Remember), Lainey Wilson and Morgan Wallen.
The Mockingbird & The Crow marks the highest-debuting rock album since Red Hot Chili Peppers’ Return of the Dream Canteen entered at No. 3 (Oct. 29, 2022) and highest-bowing country album since Luke Combs’ Growin’ Up started at No. 2 (July 9, 2022).
Four former No. 1s are next on the Billboard 200, as Metro Boomin’s Heroes & Villains falls 3-5 (53,000 equivalent album units; down 4%), Drake and 21 Savage’s Her Loss dips 4-6 (46,000; down 4%), Bad Bunny’s Un Verano Sin Ti falls 6-7 (41,000; down 4%) and Wallen’s Dangerous: The Double Album descends 7-8 (nearly 41,000; down 2%).
Zach Bryan’s American Heartbreak falls 8-9 with 32,000 equivalent album units (though up 2%) and Lil Baby’s former No. 1 It’s Only Me slips 9-10 with 28,000 (down 5%).
Luminate, the independent data provider to the Billboard charts, completes a thorough review of all data submissions used in compiling the weekly chart rankings. Luminate reviews and authenticates data. In partnership with Billboard, data deemed suspicious or unverifiable is removed, using established criteria, before final chart calculations are made and published.
After more than 15 years of appearing on the Billboard rock radio charts, Paramore is No. 1 for the first time.
“This Is Why,” the lead single from the band’s upcoming album, lifts to the top of the Alternative Airplay list dated Feb. 4.
Paramore claims its second radio No. 1 overall, following the three-week reign of “Ain’t It Fun” on Adult Pop Airplay in 2014.
Paramore first ranked on Alternative Airplay in 2007 with “Misery Business,” which peaked at No. 3 that October. It stood as the band’s top-charting song on the survey for over 15 years until “Why.”
In between “Misery” and “Why,” Paramore charted 10 titles. In all, the trio boasts six top 10s, with those two tracks sandwiching “Crushcrushcrush” (No. 4, 2008), “Decode” (No. 5, 2009), “Ignorance” (No. 7, 2009) and “Brick by Boring Brick” (No. 9, 2010).
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Paramore’s 15-year, six-month and one-week streak from its first Alternative Airplay appearance to its first No. 1 is the lengthiest since Stone Temple Pilots went a record 17 years and two weeks between “Plush” in 1993 and “Between the Lines” in 2010.
Concurrently, “Why” remains at No. 11, after reaching No. 9 in January on Adult Alternative Airplay, having become the band’s first entry on the tally.
On the all-rock-format, audience-based Rock & Alternative Airplay chart, the song rises 5-4 with 3.6 million audience impressions, up 7%, according to Luminate. It rose to No. 3 in early January.
Elsewhere, “Why” has hit No. 15 on the multi-metric Hot Rock & Alternative Songs chart. It placed at No. 39 on the Jan. 28-dated list with 1 million official U.S. streams, in addition to its airplay, Jan. 13-19.
This Is Why, Paramore’s sixth studio album, is due Feb. 10.
Nate Smith banks his first No. 1 on Billboard’s Country Airplay chart (dated Feb. 4) with his freshman entry, “Whiskey on You.” The song increased by 10% to 31.2 million impressions in the week ending Jan. 26, according to Luminate.
Smith, from Paradise, Calif., co-authored “Whiskey” with Lindsay Rimes and Russell Sutton. Smith scored early success on social media prior to signing to Sony Music Nashville’s Arista roster in November 2021. He presently boasts 1.4 million TikTok followers.
“When I released ‘Whiskey,’ I wasn’t sure what would happen … I just knew I loved it,” Smith tells Billboard. “First, my fans were super encouraging on social media, and then country radio welcomed the song with open arms, and for that I couldn’t be more grateful. Meanwhile, my dad is just glad I have a job! A huge thank you to country radio, my fans, my team and everyone who has lifted this song up.”
“Whiskey” marks the second initial Country Airplay entry to reign already in 2023, after Jelly Roll’s “Son of a Sinner” (Jan. 14). In 2022, only Bailey Zimmerman reached the penthouse with a first charted title, when “Fall in Love” led in December.
On the streaming-, airplay- and sales-based Hot Country Songs list (dated Jan. 28), “Whiskey” ranks at No. 12, bolstered by 5.7 million U.S. streams.
Wilson Keeps on ‘Truck’-in’
Lainey Wilson notches her third straight career-opening Country Airplay top 10 as “Heart Like a Truck” rides 11-10 (19.6 million, up 11%). She co-penned the track with Trannie Anderson and Dallas Wilson.
Wilson’s debut hit, “Things a Man Oughta Know,” led Country Airplay for a week in September 2021, followed by “Never Say Never,” with Cole Swindell, a two-week No. 1 last April-May.
Concurrently, HARDY’s “Wait in the Truck,” featuring Wilson, rises 12-11 (19.6 million, up 10%).
Zach Bryan spends a 32nd week at No. 1 on Billboard’s Country Songwriters chart (dated Jan. 28), surpassing Ashley Gorley for the most weeks spent on top since the chart launched in June 2019.
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Bryan, who has ruled for 24 consecutive weeks, breaks the record on the strength of four writing credits on the Hot Country Songs chart, led by his breakthrough single “Something in the Orange.” The track logs a fourth week at No. 1 on Hot Country Songs, after reaching the top 10 on the Billboard Hot 100 chart dated Jan. 21 (it stands at No. 13 on the latest chart).
The other tracks contributing to Bryan’s Country Songwriters reign are “Burn, Burn, Burn” (No. 29), “Sun to Me” (No. 32) and “The Good I’ll Do” (No. 42). Bryan has sole songwriting credit on all four of his charting hits, helping boost his chart points on Country Songwriters.
Here’s an updated look at the artists with the most weeks spent at No. 1 on Country Songwriters.
Most Weeks at No. 1 on Country Songwriters:
32, Zach Bryan
31, Ashley Gorley
18, Blanco Brown
15, Luke Combs
14, Morgan Wallen
13, Taylor Swift
10, Josh Thompson
9, HARDY
8, Josh Jenkins
7, Josh Osborne
5, Laura Veltz
Bryan concurrently spends a 21st week at No. 1 on Rock & Alternative Songwriters, tying Twenty One Pilots’ Tyler Joseph for the second-most weeks spent on top (after Glass Animals frontman Dave Bayley’s 50), and a 19th week at No. 1 on Rock Songwriters, extending his record for the most weeks at the summit.
On Billboard’s Country Producers chart, Joey Moi continues his record run, as he logs a 92nd week at No. 1. He leads on the strength of seven production credits on Hot Country Songs, via Morgan Wallen’s “You Proof” (No. 3), “Thought You Should Know” (No. 6), “Wasted on You” (No. 8), “One Thing at a Time” (No. 19), “Tennessee Fan” (No. 23) and “Days That End in Why” (No. 40); and HARDY’s “Wait in the Truck,” featuring Lainey Wilson (No. 9).
The weekly Country Songwriters and Country Producers charts are based on total points accrued by a songwriter and producer, respectively, for each attributed song that appears on the Hot Country Songs chart. As with Billboard’s yearly recaps, multiple writers or producers split points for each song equally (and the dividing of points will lead to occasional ties on rankings).
The full Country Songwriters and Country Producers charts, in addition to the full genre rankings, can be found on Billboard.com.
Lil Wayne, teaming with SIDEPIECE, bows on Billboard‘s multi-metric Hot Dance/Electronic Songs chart (dated Jan. 28) with “A Milli (Remix)” (No. 16). The collab, a remix of Lil Wayne’s 2008 Hot R&B/Hip-Hop Songs No. 1, earned 869,000 U.S. streams from its Jan. 13 release through Jan. 19, according to Luminate.
Lil Wayne’s fifth Hot Dance/Electronic Songs entry, and first as a lead act, marks his highest debut and second-highest rank, after only his featured turn on David Guetta’s “Light My Body Up,” also featuring Nicki Minaj (No. 13, 2017).
“A Milli (Remix)” brings the third appearance — and top-charting — for SIDEPIECE, the duo of Nitti Gritti/Ricky Mears and Party Favor/Dylan Ragland. Previously, the act reached No. 25 with its Diplo collab “On My Mind” in January 2020.
Concurrently, “A Milli (Remix)” debuts on Dance/Electronic Digital Song Sales (No. 21).
’53’ = 1
Bizarrap and Shakira each reign for the first time on Dance/Electronic Streaming Songs (6-1) and Dance/Electronic Digital Song Sales (2-1), with “Bzrp Music Sessions, Vol. 53.” Meanwhile, the team-up jumps 7-2 on Hot Dance/Electronic Songs, with 20.2 million streams, 7.9 million in airplay audience and 9,000 sold Jan. 13-19 (its first full tracking week, following its Jan. 11 release at 7 p.m. EST). It also crowns the Hot Latin Songs chart (16-1) and enters the all-genre Billboard Hot 100 at No. 9.
‘Clouds’ Breaking
German DJ/producer BUNT. (aka Levi Wijk) and singer Nate Traveller debut at No. 15 on the Hot Dance/Electronic Songs chart with “Clouds.” It’s BUNT.’s second and top showing, after “Old Guitar” (No. 45, 2016), and the initial chart appearance for Traveller. “Clouds” starts with 920,000 stateside streams.
Chainsmokers, Giles Debut
Further on Hot Dance/Electronic Songs, The Chainsmokers and Cheyenne Giles arrive at No. 17 with “Make Me Feel.” The track, which begins with 899,000 streams, is The Chainsmokers’ 52nd charted title, the fourth-most among all acts dating to the chart’s inception 10 years ago this week. Only David Guetta (73), Kygo (61) and Marshmello (53) have more. “Feel” is the first Billboard chart entry for singer Giles.