Chart Beat
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It’s still Taylor Swift time in the U.K., where Midnights (via EMI) enters a fifth non-consecutive week at No. 1.
Swift’s 10th and latest studio album extends its lead as her longest-reigning champion on the Official U.K. Albums Chart, and it’s the longest-running No. 1 in the U.K. since Harry Styles’ Harry’s House logged six weeks atop the survey.
The best-seller at the midweek point, Midnights leads an unchanged top five ahead of SZA’s SOS (via RCA/Top Dawg) and The Weeknd’s greatest hits collection The Highlights (Republic Records/XO), respectively, while Lewis Capaldi reenters the top 10 with former No. 1 Divinely Uninspired To A Hellish Extent (EMI).
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Divinely Uninspired lifts 16-10 on the latest survey, published Jan. 13, ahead of the release of his sophomore LP, Broken By Desire To Be Heavenly Sent. The Scottish artist’s sophomore set is due in May and contains “Pointless,” the new No. 1 on the Official U.K. Singles Chart.
The week’s highest debut belongs to Gabrielle Aplin, whose fourth album Phosphorescent (Never Fade) starts at No. 15, for the British singer and songwriter’s third top 20 album. Aplin’s 2013 debut English Rain peaked at No. 2 and 2015’s Light Up The Dark hit No. 14.
As The 1975 kick off their tour of the U.K. and Ireland in support of their latest set Being Funny In A Foreign Language (Dirty Hit), the album leaps 31-19 on the national chart.
All five of the band’s studio albums have hit No. 1 in the U.K., including 2022’s Being Funny.
Last week, Matty Healy and Co. sent Swifties into a frenzy when TayTay joined the band at The O2 in London to perform “Anti-Hero on stage for the first time.
Finally, Detroit punk icon Iggy Pop bows at No. 33 with Every Loser (Atlantic), his 19th solo album. It’s Iggy’s fifth U.K. Top 40 title.
Following a tight chart race which saw Raye take an early lead, it’s Lewis Capaldi who takes the U.K. crown with “Pointless” (via Vertigo).
The Scottish singer songwriter bags his fourth No. 1, as “Pointless,” co-written by Ed Sheeran, finishes just 1,200 combined sales ahead of its closest competition, Raye’s independently-released hit “Escapism” (Human Re Sources), featuring 070 Shake.
“Pointless” improves 15-1 on the Official U.K. Singles Chart, published Jan. 13, powered by physical and digital download sales, the Official Charts Company reports, as “Escapism” dips 1-2.
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“Pointless” is the second single lifted from his upcoming second studio album Broken By Desire To Be Heavenly Sent, slated to drop in May.
“4 u.k. number 1’s!!!!. Over the moon to finally have as many number 1’s as a do STI’s,” he quips on social media.
Capaldi enjoyed a global breakthrough with 2019’s “Someone You Loved,” which logged seven weeks atop the U.K. chart. He led the chart again in 2020 with “Before You Go” for one week in 2020, and with Broken By Desire release “Forget Me,” for one week in 2022.
Completing the chart podium on the current tally is SZA’s SOS cut “Kill Bill” (via RCA/Top Dawg), up 4-3 for a new peak.
Also on the rise this week is U.S. singer Miguel, who vaults 83-14 with “Sure Thing” (Jive), his first U.K. top 20 single; Irish singer-songwriter Cian Ducrot with “I’ll Be Waiting” (Polydor) up 39-22; Lil Uzi Vert’s “Just Wanna Rock” (Atlantic) up 38-32; Tory Lanez’s “The Color Violet” (The One Umbrella) gains 41-36 and Hotel Ugly’s viral effort, “Shut Up My Moms Calling” (Hotel Ugly), which checks into the top 40, improving 47-38.
The highest new entry on the latest chart comes courtesy of producers Skrillex, Fred Again, and rapper/producer Flowdan, as their collaborative “Rumble” (Atlantic) gets to work at No. 19.
SZA’s SOS spends a fifth consecutive, and total, week at No. 1 on the Billboard 200 albums chart (dated Jan. 21). It earned 125,000 equivalent album units in the U.S. in the week ending Jan. 12 (down less than 1%), according to Luminate.
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Only four albums have spent at least five weeks at No. 1 since the start of 2022: in order from most recent, SOS, Taylor Swift’s Midnights (five), Bad Bunny’s Un Verano Sin Ti (13) and the Encanto soundtrack (nine).
SOS is the first album to spend its first five weeks at No. 1 since Adele’s 30 ruled the list for its first six weeks (its total run at No. 1) from Dec. 4, 2021-Jan. 8, 2022.
The last R&B album by a solo woman with five weeks at No. 1 was Mariah Carey’s Daydream, which notched six nonconsecutive weeks from Oct. 21, 1995, to Jan. 13, 1996 (although, the last R&B album by an all-female act to have five weeks at No. 1 was FanMail by the trio TLC, with five nonconsecutive weeks in charge in 1999 [March 13-May 8]).
And, the last R&B album by a woman to spend its first five weeks at No. 1 was Janet Jackson’s janet., which topped the list for its first six frames (June 5-July 10, 1993). (R&B albums are defined as those that have hit or are eligible for Billboard’s Top R&B Albums chart.)
Also in the new Billboard 200’s top 10, YoungBoy Never Broke Again collects his 13th top 10-charting effort, as his first release for Motown, I Rest My Case, debuts at No. 9.
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 Jan. 21, 2023-dated chart will be posted in full on Billboard‘s website on Jan. 18 – one day later than usual, due to the Martin Luther King Jr. Day holiday in the U.S. on Jan. 16. For all chart news, follow @billboard and @billboardcharts on both Twitter and Instagram.
Five former No. 1s rank at Nos. 2-6 on the new Billboard 200 – and all are non-movers as compared to a week ago. Taylor Swift’s Midnights is No. 2 (81,000 equivalent album units earned; down 31%), followed by Metro Boomin’s Heroes & Villains (57,000; up 1%), Drake and 21 Savage’s Her Loss (51,000; down 3%), Bad Bunny’s Un Verano Sin Ti (45,000; down 10%) and Morgan Wallen’s Dangerous: The Double Album (43,000; up 2%).
Zach Bryan’s American Heartbreak climbs 8-7 with 33,000 equivalent album units earned (down less than 1%), and Lil Baby’s chart-topping It’s Only Me rises 9-8 with 31,000 (down 1%).
YoungBoy Never Broke Again notches his 13th top 10-charting album on the Billboard 200, as I Rest My Case starts at No. 9 with 29,000 equivalent album units earned. Of that sum, SEA units comprise 27,000 (equaling 39.59 million on-demand official streams of the set’s 19 tracks) and album sales and TEA units comprise 1,000 each.
I Rest My Case is the rapper’s first release for Motown after a prolific run with Atlantic, including a dozen top 10 efforts (five of which were in 2022). In total, I Rest My Case is the artist’s 28th charting title on the Billboard 200 since his debut on the list in August of 2017.
Rounding out the new top 10 is Harry Styles’ former No. 1 Harry’s House, which is stationary at No. 10 with 26,000 equivalent album units earned (down 10%).
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.
Jordan Davis banks his fourth leader on Billboard’s Country Airplay chart, as “What My World Spins Around” rises from No. 3 to No. 1 on the list dated Jan. 21. In the tracking week ending Jan. 12, the song increased by 14% to 29.9 million impressions, according to Luminate.
Davis co-wrote “World” with Matt Dragstrem and Ryan Hurd. It’s the second single from Davis’ sophomore album, Bluebird Days, due Feb. 17.
“It feels like yesterday I was praying for that first one to ring the bell,” Davis tells Billboard of his latest Country Airplay coronation. “Huge thanks to my friends at country radio and [the MCA Nashville] promo team for believing in this song. When Ryan, Matt and I wrote this song, there was always that little feeling in the back of my mind that this one might be special. Pumped that it’s connected the way it has.”
On the streaming-, airplay- and sales-based Hot Country Songs survey, “World” hit a No. 8 high in December.
For the 34-year-old Davis, from Shreveport, La., “World” follows “Buy Dirt” (featuring Luke Bryan), which dominated Country Airplay for two weeks beginning on the ranking dated Jan. 29, 2022. (The song marked Bryan’s 26th No. 1.) “Dirt” controlled Hot Country Songs for four weeks beginning the same frame, awarding Davis his first No. 1 (and Bryan his most recent of 12 leaders).
Davis notched his first No. 1 on Country Airplay with his launch release “Singles You Up,” which led for a week and reached No. 4 on Hot Country Songs in April 2018. “Take It From Me” followed, peaking at No. 2 on Country Airplay and No. 4 on Hot Country Songs in March 2019; “Slow Dance in a Parking Lot” became the singer-songwriter’s second Country Airplay leader, for a week in April 2020, and hit No. 6 on Hot Country Songs that month; and “Almost Maybes” rose to No. 5 on Country Airplay and No. 7 on Hot Country Songs in July 2021.
Lisa Marie Presley made her mark on Billboard’s charts in her lifetime, highlighted by two top 10 albums on the Billboard 200 in the 2000s.
As announced by Priscilla Presley, her mother, the singer-songwriter and only child of Elvis Presley, and ex-wife of Michael Jackson, died Jan. 12, at age 54, after being hospitalized earlier in the day.
Presley made her Billboard chart debut when “Lights On” entered the March 8, 2003-dated Adult Pop Airplay survey. The single went on to hit a No. 18 high, as well as No. 34 on Pop Airplay, that May.
Parent album To Whom It May Concern launched at its No. 5 best on the Billboard 200 in April 2003.
“There is some searing depth to rock ‘n’ roll’s most famous princess, and she has some estimable chops both as singer and songwriter,” Billboard praised in a review of the album a week before it entered the Billboard 200. “Musically, this is sultry, surly mainstream rock with a cutting, contemporary edge. ‘Lights Out’ is a real powerhouse. As a singer, Presley is alternatingly snarling, exposed and defiant. Lyrically, she’s even better – raw, wounded and often pissed off. This project stands on its own.”
Presley followed with Now What, which debuted at its No. 9 Billboard 200 high in April 2005, while the album’s “Dirty Laundry” reached No. 36 on Adult Contemporary. The single updated Don Henley’s critique of a callous media that hit No. 3 on the Billboard Hot 100 in 1983 (a cover choice that Billboard’s review of Presley’s version referred to as “telling”).
Both albums were released on Capitol Records. In June 2012, Presley’s Storm & Grace, on XIX/Republic Records, hit No. 45 on the Billboard 200, as well as No. 21 on the Top Rock Albums chart.
Presley’s album sales stand at 836,000, while her songs have drawn 9.5 million official streams (audio and video combined) in the U.S. through Jan. 5, according to Luminate.
Also among Presley’s chart history, she charted two virtual duets with her father: “In the Ghetto,” a reworking of The King’s No. 3-peaking 1969 Hot 100 hit, rose to No. 69 on Digital Song Sales, and “Where No One Stands Alone” reached No. 22 on Christian Digital Song Sales.
DeeDee Kearney, founder/CEO of marketing agency The Moxi Group and formerly Capitol northeast regional promotion manager, shared on Facebook Jan. 12 that she was “incredibly saddened” by the news of Presley’s death. “I worked with her in 2003. We drove to many radio stations together, had lovely dinners, visited five cities and had lots of wonderful talks. Her security guards were next-level, and she dealt with crazy fans in every city we visited. She was kind [and] humble.
“One night, while getting off stage at [Boston’s] Paradise [Rock Club], she came right over to me (me!) and asked if her performance was good. I’ll never forget that moment. I just adored her.”
Like her character in “Kill Bill,” the real-life SZA is sizing up the competition on pop radio and taking action.
The singer-songwriter sports two tracks from her new album, SOS, on Billboard’s mainstream top 40-based Pop Airplay chart (dated Jan. 21), led by “Kill Bill,” which soars in at No. 24, up 865% to 2,257 plays on 129 reporting stations (or, an average of 18 plays per panelist) Jan. 6-12, according to Luminate.
Meanwhile, SZA’s “Nobody Gets Me” pushes 37-30 on Pop Airplay, up 115% to 1,632 plays on 107 reporters (a 15 plays-per-station average) in its third week on the list. The tracks claim the second- and fifth-greatest gains, respectively, among all songs on the survey.
SOS, released on Top Dawg/RCA Records, has held the top spot on the Billboard 200 albums chart in its first four weeks, marking the first R&B album by a woman to achieve such a start since Janet Jackson’s janet. nearly 30 years ago.
Radio ‘Gets’ Two Tracks
RCA originally targeted ballad “Nobody Gets Me” for the pop format, but as streaming has stayed strong for “Kill Bill” – SZA’s not-her-best-idea-turned-murder fantasy (hopefully) – the label decided to formally promote both together. The latter debuted with 36.9 million official U.S. streams Dec. 9-15, followed by frames of 32 million (Dec. 16-22), 26.6 million (Dec. 23-29) and 28 million (Dec. 30-Jan. 5).
“Nobody Gets Me” started with 25.1 million streams Dec. 9-15 and drew 10.4 million Dec. 30-Jan. 5.
“Kill Bill” has so far hit No. 3 on the streaming-, airplay- and sales-driven Billboard Hot 100, debuting at the spot on the Dec. 24 chart and returning to its high on the Jan. 14-dated ranking, and ascends to the top of the Jan. 14 Billboard Global 200. “Nobody Gets Me” debuted at its No. 10 Hot 100 best (Dec. 24).
“When SOS came out this December, we immediately heard from pop programmers saying they wanted to play ‘Nobody Gets Me,’” says RCA head of promotion Keith Rothschild. “Heading into the holidays, most stations went into year-end countdowns [and paused on adding new music]. During that time, ‘Kill Bill’ became a streaming monster. On Jan. 2, I called [the RCA] pop team – [led by] Joe Daddio, Jessie Maldonado [and] Jeff Rizzo – and said, ‘What if we impacted both records at top 40 coming out of the break?’ I also asked a few key programmers, and everyone agreed: ‘Let’s do it.’”
(Fellow SOS track “Shirt,” which helped introduce the album with its release in October, is being worked to R&B/hip-hop and rhythmic radio. It climbs to new highs of Nos. 7 and 8 on the Jan. 21 Mainstream R&B/Hip-Hop Airplay and Rhythmic Airplay charts, respectively.)
Programmers: ‘The Data Speaks Loudly’
“There has been a great deal of interest in SZA from our [pop] programmers,” says Jon Zellner, iHeartMedia president of programming operations/digital music, citing growing support on the chain’s Pop Airplay reporters including WHTZ New York, KIIS Los Angeles, KYLD San Francisco and WHYI Miami.
“Typically, programmers tend to gravitate toward one emphasis single,” Zellner says. “‘Kill Bill’ is way ahead at this point. It’s always tough to determine whether any song will have staying power, but the song has a strong hook and a powerful message.”
“The data speaks loudly,” says Erik Bradley, assistant program director/music director at Audacy-owned Pop Airplay panelist WBBM (B96) Chicago. “Our core loves this album and these two singles feel like they’re strongly leading the way. They’re mainstream radio-friendly. It’s really hard to design a plan to have dual singles, but in this instance, the data demanded it, and that creates a no-brainer decision to have both songs simultaneously in regular rotation. Add to that the launch of SZA’s tour and it just feels like everything is teed up for a major 2023 win for her.”
“In radio and programming, we have rules about artist separation, and sometimes those rules need to be adjusted to mirror what our listeners are showing they want,” shares Molly Cruz, regional brand manager for Audacy’s Milwaukee, Wis., stations, including Pop Airplay reporter WXSS, noting prior success with simultaneous pop radio singles for Doja Cat, Ariana Grande, Taylor Swift and The Weeknd, among others.
‘I Might (blank) My Ex’
Hedging against any potential concerns about the lyrics in “Kill Bill”– “I might kill my ex … his new girlfriend’s next …,” later the more damning “I just killed” – RCA has serviced two edits to radio, one in which “kill”/“killed” is simply omitted and one in which the words are replaced by the sound of a slicing knife. (So that’s how she did it! The song’s Christian Breslauer-directed official video, released Jan. 10, as well as its title, an ode to the 2004 film of the same name directed by Quentin Tarantino, with its focus on samurai swords, should’ve also given clues.)
RCA chuckles that while the edit for the song – which SZA wrote with Rob Bisel and Carter Lang – is being promoted, some programmers prefer the original version with the “kill” lyric to the “I might/just (blank) my ex” mix, as the latter could invite listeners’ minds to wander toward tawdry territory.
Historically, songs with similar sinister plots have become hits, however rare, often with the same tongue-in-cheek vibe as SZA’s. Johnny Cash famously boasted that he “killed a man … just to watch him die” in “Folsom Prison Blues,” a No. 32 Hot 100 hit that also topped the Hot Country Songs chart for four weeks in 1968; Eric Clapton confessed “I Shot the Sheriff” in his Bob Marley-penned Hot 100 leader in 1974; and The Chicks’ “Goodbye Earl” reached No. 13 on Hot Country Songs in 2000 – notably, ending a streak of seven consecutive career-opening top 10 singles for the trio (even with the video’s serious portions offset by “Earl,” aka, Dennis Franz, dancing with the trio from the afterlife).
“I applaud her creativity and storytelling,” Bradley praises SZA.
“‘Kill Bill’ is my personal favorite,” Cruz says of SOS’ tracks. “It’s always fun when your favorite song is doing well and you have solid metrics to increase rotation. I think the songwriting on ‘Kill Bill’ is relatable to so many because it’s about the pain of seeing an ex move on and appear happier with their new partner.”
Muses Zellner about “Kill Bill,” “While violent, [it] certainly is creating a buzz. Are there really people who would rather go to jail or hell than be alone?”
ATEEZ captures its third top 10 on Billboard’s Top Album Sales chart (dated Jan. 14) as Spin Off: From the Witness debuts at No. 2. The set sold 40,000 copies in the U.S. in the week ending Jan. 5, according to Luminate. The eight-member South Korean group previously visited the top 10 with The World EP.1: Movement (No. 2 in 2022) and Zero: Fever Part.3 (No. 6 in 2021).
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CDs comprise a little over 39,000 of Spin Off’s sales for the week, while digital album purchases comprise 1,000. Like many K-pop releases, the CD configuration of Spin Off was issued in collectible deluxe packages (six), each with a standard set of items and randomized elements (photocards and posters).
Meanwhile, at No. 1 on Top Album Sales, Taylor Swift’s Midnights spends an 11th consecutive, and total, week atop the list (58,000 sold; up 7%). Midnights has the most weeks at No. 1 since Adele’s 25 collected 11 total nonconsecutive weeks in late 2015 and early 2016. Midnights has the most consecutive weeks atop the list since the Titanic soundtrack scored 16 weeks in a row at No. 1 (the entirety of its No. 1-run) in 1998. Midnights also ties Fearless as Swift’s albums with the most weeks at No. 1 on Top Album Sales.
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.
RM’s Indigo falls 2-3 on Top Album Sales (9,000; down 41%), Fleetwood Mac’s Rumours rises 5-4 (9,000; down 26%), Harry Styles’ former No. 1 Harry’s House dips 4-5 (8,000; down 38%) and Michael Jackson’s Thriller descends 3-6 (nearly 8,000; down 45%). Tyler, the Creator’s chart-topping Igor is a non-mover at No. 7 (7,000; down 39%), Kendrick Lamar’s good kid, m.A.A.d city falls 6-8 (nearly 7,000; down 44%), Arctic Monkeys’ AM climbs 15-9 (6,000; down 28%) and SZA’s Ctrl jumps 21-10 (5,000; down 27%).
In the week ending Jan. 5, there were 2.123 million albums sold in the U.S. (down 22.4% compared to the previous week). Of that sum, physical albums (CDs, vinyl LPs, cassettes, etc.) comprised 1.772 million (down 24.6%) and digital albums comprised 351,000 (up 8.3%).
There were 681,000 CD albums sold in the week ending Jan. 5 (down 11.4% week-over-week) and 1.081 vinyl albums sold (down 31.1%). Year-to-date CD album sales stand at 681,000 (up 9% compared to the same time frame a year ago) and year-to-date vinyl album sales total 1.081 million (up 36.8%).
Overall year-to-date album sales total 2.123 million (up 16.4% compared to the same year-to-date time frame a year ago). Year-to-date physical album sales stand at 1.772 million (up 24.5%) and digital album sales total 351,000 (down 12.4%).
SZA soars from No. 5 to No. 1 on Billboard’s Hot 100 Songwriters chart (dated Jan. 14), becoming the top songwriter in the U.S. for the first time, thanks to 15 charting songs on the latest Billboard Hot 100, all of which appear on her latest album, SOS.
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Leading the way is the album’s standout track “Kill Bill,” which jumps 11-3 on the Hot 100, returning to its peak, with 28 million official streams (up 5%), 1.7 million radio airplay audience impressions (up a whopping 703%, as it’s now being promoted to pop radio, alongside the set’s “Nobody Gets Me”) and 1,000 downloads sold (up 1%) in the U.S. Dec. 30-Jan. 5, according to Luminate.
Here’s a recap of all 15 SZA songs on the latest Hot 100, with additional co-songwriters listed in parentheses:
Rank, Title (co-songwriters in addition to SZA)
No. 3, “Kill Bill” (Rob Bisel, Carter Lang)
No. 23, “Shirt” (Rodney Jerkins, “Freaky” Rob Gueringer)
No. 42, “Nobody Gets Me” (benny blanco, Rob Bisel, Carter Lang)
No. 45, “Low” (Rob Bisel, SANGE, Aire Atlantica, Jozzy)
No. 51, “Blind” (Rob Bisel, Carter Lang, Yuli, Will Miller)
No. 53, “Snooze” (Babyface, Khristopher Riddick-Tynes, Leon Thomas III, BLK Beats)
No. 56, “Love Language” (Rob Bisel, Carter Lang, ThankGod4Cody, Yakob, Pharrell Williams, Chad Hugo, Ty Dolla $Ign, Ant Clemons, Jazzae De Waal)
No. 66, “Seek & Destroy” (Rob Bisel, Carter Lang, ThankGod4Cody, Scum)
No. 76, “Used,” feat. Don Toliver (DJ DaHi, John Hill, Ely Rise, Danny McKinnon, John Key, Don Toliver)
No. 79, “Ghost in the Machine,” feat. Phoebe Bridgers (Rob Bisel, Carter Lang, Matt Cohn, Marshall Vore, Phoebe Bridgers)
No. 83, “Special” (benny blanco, Blake Slatkin, Shellback, Omer Fedi)
No. 85, “Open Arms,” feat. Travis Scott (Rob Bisel, Michael Uzowuru, Teo Halm, Dougie F, Travis Scott)
No. 90, “SOS” (Jay Versace, Rob Bisel, Gabriel Hardeman)
No. 94, “Gone Girl “(Rob Bisel, Carter Lang, ThankGod4Cody, Jeff Bhasker, Emile Haynie)
No. 100, “Notice Me” (Carter Lang, ThankGod4Cody, Teo Halm, Michael Uzowuru)
SOS debuted at No. 1 on the Billboard 200 dated Dec. 24 and has ruled every week since (four and counting). The set tops the latest tally with 125,000 equivalent album units earned Dec. 30-Jan. 5. All 23 songs on SOS charted on the Hot 100 in the set’s opening week.
SZA is the first solo woman to lead Hot 100 Songwriters since Taylor Swift ruled for five consecutive weeks in November-December. Kate Bush is the only other woman to have led in 2022, with eight weeks at the summit, thanks to “Running Up That Hill (A Deal With God),” her 1985 single that was revived thanks to its synch in Netflix’s Stranger Things.
SZA concurrently spends a 15th week at No. 1 on the R&B Songwriters chart and a fourth week atop R&B/Hip-Hop Songwriters.
On the latest Hot 100 Producers chart, Joey Moi returns to No. 1 for a 15th week on top, thanks to five production credits on the Hot 100, four via songs recorded by Morgan Wallen. Here’s a recap:
Rank, Artist Billing, Title (co-producers in addition to Moi)
No. 13, Morgan Wallen, “You Proof” (Charlie Handsome)
No. 22, Morgan Wallen, “Wasted On You” (Jacob Durrett)
No. 33, Morgan Wallen, “Thought You Should Know”
No. 38, HARDY feat. Lainey Wilson, “Wait in the Truck” (HARDY)
No. 77, Morgan Wallen, “One Thing at a Time”
Moi passes Greg Kurstin for the third-most weeks spent at No. 1 on Hot 100 Producers, dating to the list’s launch in June 2019. Dan Nigro has logged the most time at No. 1, 27 weeks, followed by Louis Bell (18).
Moi also adds a record-extending 90th week at No. 1 on the Country Producers chart.
The weekly Hot 100 Songwriters and Hot 100 Producers charts are based on total points accrued by a songwriter and producer, respectively, for each attributed song that appears on the Hot 100; plus, genre-based songwriter and producer charts follow the same methodology based on corresponding “Hot”-named genre charts. 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 Hot 100 Songwriters and Hot 100 Producers charts, in addition to the full genre rankings, can be found on Billboard.com.
SZA cleans-up on the Australian singles chart with “Kill Bill” (via RCA/Sony), while Taylor Swift enters a 10th non-consecutive week at No. 1 on the national albums survey with Midnights (Universal).
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Swift’s 10th and latest album becomes her longest-reigning No. 1 on the ARIA Chart, eclipsing the nine-week run for 1989’s 2014. On the latest chart, published Friday, Jan. 13, 1989 dips 19-20.
“Congratulations Taylor! Ten weeks at No. 1 is a great achievement and 10 chart-topping albums in just 12 years is incredible,” comments ARIA CEO Annabelle Herd. “Australia’s love affair with Taylor and her music is not slowing down.”
Midnights manages to hold off SZA’s SOS from a first stint on the albums chart throne, as it holds at No. 2 — though the U.S. R&B star goes one better on the ARIA Singles Chart.
In a week that saw SZA drop a bloody music video for “Kill Bill,” the track lifts 2-1 on the ARIA Chart for her first leader in Australia.
Until now, SZA’s best was a No. 2 placing for “All The Stars” with Kendrick Lamar, lifted from the Black Panther soundtrack in 2018. She also featured on Doja Cat’s “Kiss Me More,” which peaked at No. 2 in 2021.
“Kill Bill” switches places with Sam Smith & Kim Petras’ “Unholy” (Capitol/Universal), which slips 1-2, just days after Smith performed an exclusive, intimate concert at the d’Arenberg Cube winery in McLaren Vale, Adelaide.
Raye’s “Escapism” (Orchard) featuring U.S. rapper 070 Shake reaches a new high, up 7-4. The British singer and songwriter snagged the U.K. No. 1 this week with “Escapism,” released independently after her public split with Polydor, part of Universal Music Group.
Meanwhile, Dean Lewis’ “How Do I Say Goodbye” (Island/Universal) is the best-placed homegrown track on Australia’s official singles chart, up 26-16, just two places removed from its peak position.
Also noteworthy is Stephen Sanchez and Em Beihold’s dark horse “Until I Found You” (Universal), which races 30-12, six months after it first impacted the top 100, while Skrillex, Fred Again and Flowdan bag the week’s highest debut, as “Rumble” (Atlantic/Warner) starts at No. 35.
Chileans Cris MJ and Standly cross off a career milestone with their first No. 1 on the Billboard Argentina Hot 100 chart (dated Jan. 7). “Marisola,” with Duki and Nicki Nicole, jumps 2-1 in its 19th week. It’s the longest trek to No. 1 since Rauw Alejandro and Camilo’s “Tattoo” took 21 weeks to land at the penthouse in July 2020.
Released via Stars Music Chile, “Marisola” sends Manuel Turizo’s “La Bachata” to the runner-up slot after its 15-week run at the summit. While Duki collects his fourth champ, Nicki Nicole claims her third No. 1.
Meanwhile, Luck Ra’s “Ya No Vuelvas,” featuring La K’Onga and Ke Personajes, ascends 5-3, as Rosalía’s “Despechá” falls 3-4.
Further, Argentine duo La T y La M, conformed by Tobías Medrano and Matías Rapen, notches its first top 10 with “Pa’ La Selección,” a cumbia in honor of Argentina’s national soccer team. The track surges 17-5 in its third week.
Elsewhere, Bizarrap and Duki’s “3 Estrellas En El Conjunto” takes the Hot Shot Debut of the week, at No. 39. While the former adds his 41st career entry, the latter secures his 39th.
Here’s a recap of the artists with the most entries on the chart since it begun in 2018:
55, Bad Bunny
49, J Balvin
41, Bizarrap
37, DuKi
35, Anuel AA
35, Maria Becerra
35, Ozuna
35, Rauw Alejandro
Further, Emilia notches the Greatest Gainer title as “La Chain” ascends 21 positions from No. 87 to No. 66.
Finally, Ke Personajes earns its third career entry as “Cómo Estás” bows at No. 92.