Chart Beat
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Parker McCollum banks his third consecutive career-opening top 10 on Billboard’s Country Airplay chart, as “Handle on You” rises from No. 11 to No. 9 on the survey dated March 4.
In the week ending Feb. 23, the track increased by 7% to 19.8 million in audience, according to Luminate.
McCollum wrote the song with Monty Criswell, and Jon Randall produced it. “Handle” is the lead single from McCollum’s album Never Enough, due May 12.
The 30-year-old McCollum, who hails from Conroe, Texas, follows his two Country Airplay No. 1s: “To Be Loved by You” led last March and his rookie entry “Pretty Heart” reigned in December 2020, each for one week.
On the streaming-, airplay- and sales-based Hot Country Songs chart (dated Feb. 25), “Handle” held at No. 16, after reaching No. 14. It drew 5 million official U.S. streams (up 3%) and sold 1,000 downloads Feb. 10-16.
Hold That ‘Thought’
Morgan Wallen’s “Thought You Should Know” rents the Country Airplay penthouse for a second week, up 4% to 34.4 million impressions.
The song, which became Wallen’s eighth Country Airplay leader on the Feb. 25-dated list, is his fourth to rule for multiple frames. “You Proof,” which dominated for 10 weeks starting in October, is the longest-reigning song in the history of the chart, which launched in January 1990.
Meanwhile, of the five songs that have ascended to No. 1 on Country Airplay so far in 2023, “Thought” marks the third multi-week leader, following Nate Smith’s “Whiskey on You” (two weeks, February) and Jordan Davis’ “What My World Spins Around” (two, January).
Meanwhile, Wallen’s “Last Night” debuts at No. 47 on Country Airplay (1.5 million, up 246%), as well as at No. 40 on Pop Airplay. That track, “Thought” and “You Proof” all preview his 36-song album One Night at a Time, due March 3. “Last Night,” which has topped Hot Country Songs for two weeks running, is now being promoted to pop radio, while “One Thing at a Time” is Wallen’s next country radio single, with promotion starting March 13.
Five Finger Death Punch adds to its record streak of No. 1s on Billboard’s Mainstream Rock Airplay, as “Welcome to the Circus” jumps from No. 2 to the summit on the March 4-dated survey.
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The song is the Ivan Moody-fronted band’s 10th No. 1 in a row, the longest run of leading consecutive entries in the history of Mainstream Rock Airplay, which began in 1981.
Each of the band’s entries has ruled the chart starting with “Sham Pain,” which led for a week in 2018.
In all, Five Finger Death Punch now boasts 14 Mainstream Rock Airplay No. 1s, giving the group sole possession of the third-most leaders in the chart’s history. Only Shinedown (18) and Three Days Grace (17) have more.
Most No. 1s, Mainstream Rock Airplay:18, Shinedown17, Three Days Grace14, Five Finger Death Punch13, Van Halen12, Godsmack11, Disturbed11, Foo Fighters11, Metallica10, Tom Petty (solo and with the Heartbreakers)10, Volbeat
Five Finger Death Punch first crowned Mainstream Rock Airplay with the two-week No. 1 “Coming Down” in 2012.
Concurrently, “Circus” leaps 13-10 on the all-rock-format, audience-based Rock & Alternative Airplay chart with 2.8 million audience impressions, up 11%, Feb. 17-23, according to Luminate. It’s the band’s sixth top 10 and first since “Afterlife,” which peaked at No. 8 last July.
“Circus” ranked at No. 14 on the latest multi-metric Hot Hard Rock Songs survey (dated Feb. 25). In addition to its radio airplay, it earned 714,000 official U.S. streams in the Feb. 10-16 tracking week.
Linkin Park debuts at No. 1 on Billboard’s Hot Hard Rock Songs chart, as its recently unearthed track “Lost” bows atop the Feb. 25-dated ranking.
In the Feb. 10-16 tracking week, “Lost” earned 10.3 million radio audience impressions and 9 million official U.S. streams and sold 12,000 downloads in the United States, according to Luminate.
It’s Linkin Park’s second No. 1 on Hot Hard Rock Songs, which began in 2020, following “In the End,” which reigned for two weeks in 2021 due to gains sparked by iTunes sale pricing.
“Lost” also begins at No. 2 on Hot Alternative Songs and at No. 4 on both Hot Rock & Alternative Songs and Hot Rock Songs.
On the all-genre Billboard Hot 100, “Lost” starts at No. 38, Linkin Park’s highest charting entry since “Burn It Down” reached No. 30 in 2012. It’s the band’s 11th top 40 Hot 100 hit, and fifth to debut in the region. The group hit a No. 2 best with “In the End” in 2002.
As previously reported, “Lost” became the first to debut at No. 1 on the Rock & Alternative Airplay chart in more than a decade on the strength of its radio audience.
The track also tops the Rock Digital Song Sales, Alternative Digital Song Sales and Hard Rock Digital Song Sales surveys, as well as Hard Rock Streaming Songs.
“Lost,” with vocals by Chester Bennington, who died in 2017, was originally recorded for the sessions for Meteora, Linkin Park’s second studio album, released in March 2003. It’s part of a 20th anniversary reissue of the album, due April 7.
Shinedown has the record for the most top 10s on Billboard’s Mainstream Rock Airplay chart all to itself, as “Dead Don’t Die” climbs into the top 10 of the ranking dated Feb. 25.
“Die,” which jumps from No. 13 to No. 9, is Shinedown’s 30th top 10, as the band becomes the first act to cross the threshold in the history of the list, which began in 1981.
Previously, the Brent Smith-fronted outfit was in a three-way tie with Five Finger Death Punch and Foo Fighters for the most top 10s, with 29 apiece.
Most Top 10s, Mainstream Rock Airplay:
30, Shinedown
29, Five Finger Death Punch
29, Foo Fighters
28, Tom Petty (solo and with the Heartbreakers)
27, Godsmack
26, Van Halen
25, Disturbed
25, Metallica
Each of Shinedown’s entries on Mainstream Rock Airplay has reached the top five, dating to its debut entry “Fly From the Inside,” which hit No. 5 in September 2003.
Shinedown is currently riding a streak of eight No. 1s in a row on the chart, a run that began with “How Did You Love” in 2017. The record is held by Five Finger Death Punch, which has notched 10 straight.
Shinedown also boasts the most No. 1s – 18 – of any act in the chart’s history.
Concurrently, “Die” pushes 22-18 on the all-rock-format, audience-based Rock & Alternative Airplay tally with 1.8 million audience impressions, up 18%, Feb. 10-16, according to Luminate.
The song is the third rock radio single from Planet Zero, Shinedown’s seventh studio album, following the title track and “Daylight.” The set debuted at No. 1 on the Top Rock & Alternative Albums chart dated July 16, 2022, and has earned 158,000 equivalent album units to date.
Nearly 18 years after first appearing on Billboard’s Alternative Airplay chart, Fall Out Boy has its first No. 1.
“Love From the Other Side,” from the four-piece’s upcoming eighth studio album So Much (for) Stardust (due March 24), jumps from No. 3 to the top of the chart dated March 4. The band previously rose as high as No. 2 with “Dance, Dance” in 2006.
“Love” became the act’s seventh Alternative Airplay top 10, a run that started with its first entry, “Sugar, We’re Goin’ Down” (No. 3, 2005). Fall Out Boy had most recently reached the top 10 with the No. 10-peaking “Dear Future Self (Hands Up)” in 2019.
Fall Out Boy’s 17-year, nine-month run from a first charting song (“Sugar” debuted on the June 4, 2005, survey) to first a No. 1 is the longest in the Alternative Airplay survey’s 34-year history, surpassing the 17 years and two weeks it took Stone Temple Pilots between 1993’s “Plush” and 2010’s “Between the Lines.”
It also follows up the similarly lengthy 15 years, six months and two weeks it took Paramore between “Misery Business” and first ruler “This Is Why,” which reigned just a month ago.
Longest Wait Between First Appearance and First No. 1, Alternative Airplay:17 years, nine months: Fall Out Boy, “Love From the Other Side” (2005-23)17 years, two weeks: Stone Temple Pilots, “Between the Lines” (1993-2010)16 years, 10 months, two weeks: Alice in Chains, “Check My Brain” (1992-2009)15 years, six months, two weeks: Paramore, “This Is Why” (2007-23)15 years, five months, two weeks: Nine Inch Nails, “The Hand That Feeds” (1989-2005)
Concurrently, “Love” bullets at No. 31, after reaching No. 30 the previous week, on Mainstream Rock Airplay. On the all-rock-format, audience-based Rock & Alternative Airplay chart, the song rises 3-2 with 4.8 million audience impressions, up 10%, Feb. 17-23, according to Luminate.
On the latest Hot Rock & Alternative Songs chart (dated Feb. 25), “Love” placed at No. 31, after rising as high as No. 11 (Feb. 4). In addition to its radio airplay, the song earned 1.4 million official U.S. streams in the Feb. 10-16 tracking week.
So Much (for) Stardust marks Fall Out Boy’s first full-length since Mania, which debuted at No. 1 on the Billboard 200 in February 2018, and has earned 558,000 equivalent album units to date.
All Billboard charts dated March 4 will refresh on Billboard.com Tuesday, Feb. 28.
Paramore and Pierce the Veil lead Billboard’s rock albums charts dated Feb. 25 with new releases This Is Why and The Jaws of Life, respectively.
Paramore’s sixth studio album and first since 2017’s After Laughter bows atop the Top Rock & Alternative Albums, Top Rock Albums and Top Alternative Albums tallies with 64,000 equivalent album units earned Feb. 10-16, according to Luminate. That sum includes 47,000 units via album sales.
The set is Paramore’s fourth straight No. 1 on Top Rock & Alternative Albums, dating to 2009, when Brand New Eyes ruled for a week. Its successors Paramore (2013) and the aforementioned Laughter also led for one frame each.
With four No. 1s, Paramore is tied with Florence + the Machine for the most rulers by a woman or woman-led act since the chart began in 2006. Concurrently, as previously reported, Why starts at No. 2 on the all-genre Billboard 200, the band’s best rank since Paramore debuted at No. 1 in 2013.
All 10 of the new album’s tracks appear on the multi-metric Hot Rock & Alternative Songs survey, paced by “Running Out of Time,” which debuts at No. 18 with 3.3 million official U.S. streams in the tracking week. The album’s title track and lead single (which ranks at No. 19 on the latest Hot Rock & Alternative Songs list, after rising to No. 15 in October) became the band’s first Alternative Airplay No. 1 when it reigned for one week in February.
Carlos de la Garza, who produced the album, concurrently debuts at No. 1 on Billboard’s Rock & Alternative Producers chart for the first time. De la Garza is the sole producer behind all 10 of Paramore’s chart entries on Hot Rock & Alternative Songs. De la Garza dethrones Steve Lacy on Rock & Alternative Producers after leading for 30 consecutive weeks (dating to July 30, 2022).
Meanwhile, Pierce the Veil’s Jaws bows at No. 1 on Top Hard Rock Albums with 27,000 units earned. It’s the band’s third Top Hard Rock Albums leader (and third in a row), following 2012’s Collide With the Sky and 2016’s Misadventures. The new LP also launches at No. 2 on Top Alternative Albums and No. 3 on both Top Rock & Alternative Albums and Top Rock Albums.
On the Billboard 200, Jaws starts at No. 14. Multiple songs from the set appear on Hot Hard Rock Songs, paced by “Death of an Executioner,” which premieres at No. 7 (1.8 million streams). The album’s lead single, “Pass the Nirvana,” appeared on Mainstream Rock Airplay for three weeks, peaking at No. 39 in December. Follow-up “Emergency Contact” climbs 27-24 on Alternative Airplay.
Edgar Barrera spends an 18th week at No. 1 on Billboard’s Latin Songwriters chart (dated Feb. 25), and hits No. 1 on Latin Producers for the first time, thanks to six writing and production credits on the latest Hot Latin Songs survey.
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Dating to the charts’ launch in 2018, Barrera is just the fourth talent to top both Latin rankings simultaneously.
Tainy first achieved the feat in November 2020, and has since doubled up 24 times. Ovy on the Drums led both charts simultaneously for two consecutive weeks in May 2022 and MAG ruled both on three occasions last November and December.
Here’s a look at all of Barrera’s credits on this week’s Hot Latin Songs chart (he’s credited as both a songwriter and producer on each song):
Rank, Artist Billing, Title
No. 2, Fuerza Regida X Grupo Frontera, “Bebé Dame”
No. 3, Carin León X Grupo Frontera, “Que Vuelvas”
No. 8, Manuel Turizo, “La Bachata”
No. 16, Grupo Frontera X Grupo Marca Registrada, “Di Que Sí”
No. 32, Fuerza Regida X Grupo Frontera, “911 (En Vivo)”
No. 43, Maluma + Marc Anthony, “La Fórmula”
Barrera’s 18 weeks at No. 1 on the Latin Songwriters chart mark the third-most in the chart’s history, after only Bad Bunny (95) and Tainy (24).
The weekly Latin Songwriters and Latin Producers charts are based on total points accrued by a songwriter and producer, respectively, for each attributed song that appears on the Hot Latin 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 Latin Songwriters and Latin Producers charts, in addition to the full genre rankings, can be found on Billboard.com.
Pink blasts to No. 1 on Australia’s chart with Trustfall (via RCA/Sony), the U.S. pop superstar’s ninth studio album.
With Trustfall debuting at the summit of the ARIA Chart, published Feb. 24, Pink bags a seventh leader in the parts, bringing her total number of weeks at the top to 44, ARIA reports.
Pink is considered an “honorary Aussie,” and she’s certainly spent enough time here to earn it.
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On her 2009 Funhouse Tour, she criss-crossed the country for an astounding 59 shows, an epic adventure that took three months and saw her sell 650,000 tickets. Not bad for a country of less than 25 million at the time.
For her Truth About Love Tour in 2013-14, Pink completed 46 dates; and for the Australasian leg of her Beautiful Trauma World Tour in 2018, she spent over two months on these shores, nailing 42 arena dates.
According to Billboard Boxscore, Pink is the highest-grossing act of the 2010s in Oceania with about $135 million. She even has her own ladies’ toilet block at the Brisbane Entertainment Centre, where she has smashed attendance records.
Her albums are also surefire hits. Among Pink’s leaders, three have logged more than eight weeks at No. 1 on the ARIA Chart: Funhouse from 2008 (nine weeks), Greatest Hits… So Far!!! from 2010 (13 weeks) and The Truth About Love from 2012 (10 weeks).
The Philly native also ruled the national chart with I’m Not Dead (2006), Beautiful Trauma (2017) and Hurts 2B Human (2019).
Meanwhile, the title track from Trustfall flies 34-19 on the ARIA Singles Chart, for Pink’s 44th top 20 hit in Australia, a feat that includes 37 top 10 appearances.
As Ed Sheeran winds his way around the country for his latest stadium tour in support of = (equals via Atlantic/Warner), two of the Brit’s LPs return to the top 10. His latest release from 2021, equals, rises 17-6, while divide (÷) from 2017 is up 15-8.
Another English superstar pop artist is currently touring Australia, and enjoying sales bumps for his recordings. Harry Styles, who is working his way around the country for the domestic leg of his Love On Tour trek, sees his global hit single “As It Was” (Columbia/Sony) gain 9-5, while its parent album Harry’s House holds at No. 2.
Over on the ARIA Singles Chart, Miley Cyrus’ “Flowers” (Columbia/Sony) beds down for a sixth consecutive week at No. 1.
If it returns for a seventh week at the penthouse, “Flowers” will equal the reign of Miley’s dad Billy Ray Cyrus, with his 1992 smash “Achy Breaky Heart.”
Finally, another pink-tinged artist is making a statement on Australia’s charts. The English singer, songwriter and producer PinkPantheress’s “Boy’s A Liar” (Parlophone/Warner) lifts 3-2, a new peak, thanks to a viral cut featuring rising U.S. rapper Ice Spice.
Lil Uzi Vert claims their first No. 1 as a lead artist on Billboard’s Hot Rap Songs chart as “Just Wanna Rock” ascends to the summit of the chart dated Feb. 25. The single, which spent the six previous weeks at No. 2, is their second overall champ, following their featured turn on Migos’ 12-week champ, “Bad and Boujee,” in 2017.
As “Rock” ascends from No. 2 on Hot Rap Songs, it ends a peculiar streak at the top. The eight previous champs all began their reigns with No. 1 debuts, making “Just Wanna Rock” the first song to climb into the No. 1 spot on Hot Rap Songs since Latto’s “Big Energy” advanced 2-1 in April 2022. In the 44 weeks between, here are the eight titles that all debuted at the top and passed the baton among themselves to prevent any challengers from ascending all the way.
Song, Artist, Weeks at No. 1, Date Debuted at No. 1“First Class,” Jack Harlow, 14, April 23, 2022“Wait for U,” Future featuring Drake & Tems, two, May 14, 2022“Jimmy Cooks,” Drake & 21 Savage, one, July 2, 2022“Staying Alive,” DJ Khaled featuring Drake & Lil Baby, one, Aug. 20, 2022“Super Freaky Girl,” Nicki Minaj, 11, Aug. 27, 2022“California Breeze,” Lil Baby, one, Oct. 29, 2022“Rich Flex,” Drake & 21 Savage, 13, Nov. 19, 2022“Superhero (Heroes & Villains),” Metro Boomin, Future & Chris Brown, one, Dec. 17, 2022
“Just Wanna Rock” advances to No. 1 on Hot Rap Songs as it posts weekly improvements in all three of the chart’s contributing metrics – streaming, radio airplay and sales – in the tracking week of Feb. 9 – 16, according to Luminate. In the foremost category, “Rock” totaled 17 million official U.S. streams, a 7% gain, and returns to No. 1 on the Rap Streaming Songs chart for a second overall week on top. The cut previously reigned in its second week on the list, the chart dated Nov. 12, 2022. “Rock” also sold 2,000 digital downloads in the tracking week, an increase of 5% from its previous week.
While the song had been steadily climbing, “Rock” received an extra promotional boost as an adopted anthem for the Philadelphia Eagles NFL team on their road to a Super Bowl appearance. The team used the hometown artist’s song as their warm-up introduction track in several playoff games, including Super Bowl LVII, where they lost to the Kansas City Chiefs.
For radio airplay, “Rock” registered 34.7 million in total audience, an 11% addition from the prior week and climbs 19-18 on the all-genre Radio Songs chart. Airplay advances trickle down to several genre formats as well, with “Rock” rising to No. 1 on the Rap Airplay chart (up 11% in audience), 4-2 on Mainstream R&B/Hip-Hop Airplay (up 11% in weekly plays at the format), 5-4 on Rhythmic Airplay (up 12% in weekly plays) and 34-33 on Pop Airplay (up 17% in weekly plays).
In other Lil Uzi Vert news, they land a No. 19 debut for “Watch This (Arizonatears Pluggnb Remix).” The song is based on “Watch This,” an unreleased track Lil Uzi Vert previewed in 2019 in an Instagram Live that was later leaked in 2022 and never officially released. This official remix version, released Feb. 5, earned 4.3 million official U.S. streams.
The top three finishers at Italy’s Sanremo music festival have entered Billboard’s global charts, including the contest’s winner, Marco Mengoni. The Billboard Global 200 dated Feb. 25 sees debut from rapper Lazza’s “Cenere” (“Ashes”) at No. 68; Mengoni’s “Due Vite” (“Two Lives”) at No. 80; and Mr. Rain’s “Supereroi” (“Superheroes”) at No. 97.
The Billboard Global Excl. U.S. chart features two more Sanremo artists – Madame and Tananai – for a total of five songs from Sanremo 2023. On that chart, “Cenere” debuts at No. 29, “Due Vite” bows at No. 32 and “Supereroi” enters at No. 42. Meanwhile, Madame’s “Il Bene nel Male” (“The Good in the Bad”) starts at No. 104 and Tananai’s “Tango” arrives at the No. 195 spot. On Luminate’s Global Hits – Italy chart for the week ending Feb. 16, “Cenere,” “Due Vite,” “Supereroi,” “Il Bene nel Male” and “Tango” are Nos. 1-5, respectively.
Since the launch of the Billboard global lists in 2020, Sanremo’s most successful songs enter the charts each year after the event. The 2021 edition saw three songs make it to the Global 200 and six enter the Global Excl. US immediately after the contest. In that year, the song that won Sanremo, “Brividi” by Mahmood and Blanco, reached the highest positions on both charts, and at more impressive spots: No. 15 on the Global 200 and No. 7 on the Global Excl. U.S.
Mengoni, who is signed to Sony Music Entertainment’s Epic Records Italy, won Sanremo 2023, after the pop star dominated the song contest from start to finish with “Due Vite.” It was his second victory at the festival, his first coming in 2013 with “L’essenziale” (“The Essential”).
Under the artistic direction of Amadeus, who oversaw his fourth Sanremo this year, recent editions of the Italian song contest have started resonating with younger audiences, especially on streaming platforms. This year’s edition was the highest rated since 1995. Overall, 63.1% of TV viewers followed the five nights of the event, with the final night (Jan. 11) drawing an audience of 12,256,000 people, or 66% of Italian TV viewers.