Chart Beat
Page: 360
Meghan Trainor returns to No. 1 on Billboard’s Adult Pop Airplay chart as “Made You Look” tops the tally dated Feb. 25.
The song, released on Epic Records, becomes Trainor’s second Adult Pop Airplay leader, after “Like I’m Gonna Lose You,” featuring John Legend, ruled for two weeks in January 2016. She boasts six top 10s on the list dating to her debut smash, “All About That Bass,” in 2014.
“Made You Look” is from Trainor’s album Takin It Back, which launched at its No. 16 high on the Billboard 200 in November and has spent 16 straight weeks on the survey.
The song’s coronation follows Trainor’s joyous Jan. 30 announcement that she’s expecting her second child with husband Daryl Sabara. She’s also releasing a book about pregnancy, Dear Future Mamas, April 25. (Two-year-old son Riley has helped swell the song’s profile on social media, including TikTok, where the track has been prominent throughout its run.)
“I never take these things for granted and, now that I’m a mom, everything means so much more,” Trainor told Billboard upon learning of her new chart triumph with “Made You Look.” “Especially with my hormones from this second pregnancy, I’m going to be crying happy tears about this all night.
“I can’t wait to tell my baby one day that they were in my belly when we got this No. 1!”
“Made You Look” has also hit No. 5 on Pop Airplay and No. 8 on the all-format Radio Songs chart, marking the Nantucket, Mass., native’s fifth top 10 on each ranking. The song, which has been remixed by Joel Corry and with Kim Petras, among others, has, from its release through Feb. 9, drawn 559.2 million in airplay audience and 132.9 million official on-demand U.S. streams and sold 83,000, according to Luminate.
All charts dated Feb. 25 will update on Billboard.com Wednesday, Feb. 22 (a day later than usual due to the Presidents Day holiday in the U.S. Monday, Feb. 20).
Morgan Wallen notches his eighth leader on Billboard‘s Country Airplay chart, as “Thought You Should Know” ascends from No. 2 to No. 1 on the list dated Feb. 25. In the week ending Feb. 16, it increased by 4% to 33.2 million impressions, according to Luminate.
(All charts dated Feb. 25 will update on Billboard.com Wednesday, Feb. 22, a day later than usual due to the Presidents Day holiday in the U.S. Monday, Feb. 20.)
Wallen co-wrote the song with Nicolle Galyon and Miranda Lambert, the latter of whom claims her first Country Airplay No. 1 as a writer for another artist, after she penned three that she’s recorded (among her seven total leaders as a recording artist).
“Thought” is the second Country Airplay No. 1 from Wallen’s 36-song LP One Thing at a Time, due March 3. “You Proof” dominated for 10 frames starting last October, becoming the longest-leading No. 1 in the chart’s 33-year history.
‘Truck’ Driving
Lainey Wilson’s “Heart Like a Truck” motors into the Country Airplay top five, up 6-5 (23.2 million, up 3%). It’s her third top five hit, following “Things a Man Oughta Know,” which led for a week in September 2021, and her Cole Swindell team-up “Never Say Never,” which reigned for two frames starting last April.
Concurrently, HARDY’s “Wait in the Truck,” featuring Wilson, is parked at No. 10 on Country Airplay (19.6 million). Wilson posts a twofer for a third consecutive week; while 11 male acts have logged two concurrent top 10s – Morgan Wallen, Mitchell Tenpenny and Luke Combs, most recently – Wilson is the first woman to have achieved the feat.
“Lainey is ushering in the next generation of female superstars,” says Mike Moore, program director at Cumulus Media’s WKHX Atlanta. “Her album Bell Bottom Country is fantastic from beginning to end. We were fortunate to have her here for a station show at the end of 2022, and our audience couldn’t get enough. She is equal parts talent, sincerity and a quality person.”
Miley Cyrus’ “Flowers” bounds to No. 1 on Billboard’s mainstream top 40-based Pop Airplay chart (dated Feb. 25).
The song, released on Smiley Miley/Columbia Records, becomes Cyrus’ third Pop Airplay leader, after “Party in the U.S.A.” reigned for a week in November 2009 and “Wrecking Ball” ruled for two weeks in November-December 2013. She boasts six top 10s among 15 total entries on the radio ranking.
Notably, “Flowers” tops Pop Airplay, flying from No. 5 to No. 1 (up 15% in plays on 153 reporters Feb. 10-16, according to Luminate), in just its fifth week on the chart, dating to its debut, at No. 16, on the Jan. 28 list. It claims the quickest coronation since Justin Timberlake’s “Can’t Stop the Feeling!” also needed just five frames to hit No. 1 in 2016.
Here’s a recap of the songs to lead Pop Airplay the fastest, with four having ruled in just their fourth week each on the chart.
Four weeks to No. 1 on Pop Airplay:
“I Will Always Love You,” Whitney Houston, hit No. 1 on the chart dated Dec. 12, 1992
“Dreamlover,” Mariah Carey, Sept. 4, 1993
“I’ll Be There for You,” The Rembrandts, June 17, 1995
“Over and Over,” Nelly feat. Tim McGraw, Nov. 6, 2004
Five weeks to No. 1 on Pop Airplay:
“That’s the Way Love Goes,” Janet Jackson, hit No. 1 on the chart dated May 29, 1993
“All That She Wants,” Ace of Base, Oct. 30, 1993
“I Swear,” All-4-One, May 28, 1994
“I’ll Make Love to You,” Boyz II Men, Sept. 10, 1994
“One Sweet Day,” Mariah Carey & Boyz II Men, Dec. 9, 1995
“Bad Blood,” Taylor Swift feat. Kendrick Lamar, July 4, 2015
“Hello,” Adele, Dec. 5, 2015
“Can’t Stop the Feeling!,” Justin Timberlake, June 18, 2016
“Flowers,” Miley Cyrus, Feb. 25, 2023
As of the latest all-genre, multimetric Billboard Hot 100 chart (dated Feb. 18), “Flowers” is Miley Cyrus‘ newly crowned longest-leading No. 1, surpassing the three-week command of “Wrecking Ball” in 2013.
All charts dated Feb. 25 will update on Billboard.com Wednesday, Feb. 22 (a day later than usual due to the Presidents Day holiday in the U.S. Monday, Feb. 20).
Weezer’s “Records” becomes the band’s eighth No. 1 on Billboard’s Alternative Airplay chart, lifting to the top of the Feb. 25-dated ranking.
Weezer now boasts four Alternative Airplay No. 1s in a row; each of the band’s entries this decade has led. “Hero” started the streak in 2020 (one week at No. 1 that August), followed by “All My Favorite Songs” (four weeks, July-August 2021) and “A Little Bit of Love” (two, June 2022).
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The Rivers Cuomo-fronted band first topped Alternative Airplay in 2005 with its one-week No. 1 “Beverly Hills” (over a decade after the band’s first entry, the No. 6-peaking “Buddy Holly,” in 1994). Subsequently, the act’s “Perfect Situation” ruled for four weeks in 2006, followed by “Pork and Beans” (11 weeks, 2008) and its cover of Toto‘s “Africa” (three, 2018).
Weezer’s eight Alternative Airplay No. 1s slot the band into a tie for the seventh-most in the chart’s 34-year history, alongside U2. Red Hot Chili Peppers pace all acts with 15.
Most No. 1s, Alternative Airplay:
15, Red Hot Chili Peppers
12, Green Day
11, Linkin Park
10, Cage the Elephant
10, Foo Fighters
10, twenty one pilots
8, U2
8, Weezer
7, Imagine Dragons
“Records” reigns in its 29th week on Alternative Airplay, completing Weezer’s longest trip to No. 1. It exceeds the 26-week journey of “All My Favorite Songs” in 2021.
Concurrently, “Records” ranks at its No. 6 high on the all-rock-format, audience-based Rock & Alternative Airplay chart, with 3.7 million audience impressions, according to Luminate. It also earned a two-week appearance on Adult Alternative Airplay in August-September 2022, peaking at No. 38.
“Records” is the radio single from the EP SZNZ: Summer (released last June), part of Weezer’s overarching four-EP SZNZ project. Preceding Alternative Airplay No. 1 “A Little Bit of Love” is also from SZNZ, on the Spring edition.
For the first time in over a decade, there’s a No. 1 debut on Billboard’s Rock & Alternative Airplay chart.
Linkin Park’s “Lost,” recorded during the sessions for the band’s 2003 album, Meteora, and released Feb. 11, bows at No. 1 on the all-rock-format, audience-based Rock & Alternative Airplay list dated Feb. 25.
In the Feb. 10-16 tracking week, “Lost” earned 10.1 million audience impressions, according to Luminate. That’s the best weekly impression count for any song since Lana Del Rey’s “Doin’ Time” earned 10.5 million in its sixth and final week at No. 1 (Oct. 12, 2019).
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The last song to debut with a higher audience total than “Lost”? “Jumpsuit” by Twenty One Pilots (10.2 million, July 21, 2018; it opened at No. 4 that week).
“Lost” is one of just four songs to bound in at No. 1 on Rock & Alternative Airplay dating to the chart’s June 2009 inception – and Linkin Park is the first act to achieve the feat twice. The band’s “The Catalyst” began atop the Aug. 21, 2010, survey, followed by Foo Fighters’ “Rope” (March 12, 2011) and Green Day’s “Oh Love” (Aug. 4, 2012).
Linkin Park lands its fourth Rock & Alternative Airplay No. 1, after “New Divide” ruled for 12 weeks in 2009, followed by “The Catalyst” (five weeks, 2010) and “Burn It Down” (11 weeks, 2012). In between “Burn” and “Lost,” the band appeared on the chart nine times, led by the No. 7-peaking “Lost in the Echo” in 2012, but had not made the list since 2017, following the death of frontman Chester Bennington that July. (“Lost” is the first song in the chart’s archives to hit No. 1 after the passing of its vocalist.)
Linkin Park ties Red Hot Chili Peppers for the seventh-most Rock & Alternative Airplay No. 1s. Foo Fighters lead all acts with nine.
Most No. 1s, Rock & Alternative Airplay:
9, Foo Fighters
6, Cage the Elephant
6, Green Day
6, twenty one pilots
5, The Black Keys
5, Imagine Dragons
4, Linkin Park
4, Red Hot Chili Peppers
3, Weezer
Concurrently, “Lost” starts at No. 4 on Alternative Airplay, the best premiere for any song since Linkin Park’s own “The Catalyst” soared in at No. 3 in 2010. It’s the band’s 18th top 10 and first since its Steve Aoki co-bill “A Light That Never Comes,” which reached No. 7 in 2013.
The band’s 18 top 10s tie it for seventh-best in the chart’s 34-year history. Foo Fighters and Red Hot Chili Peppers rule with 28 apiece.
Most Top 10s, Alternative Airplay:
28, Foo Fighters
28, Red Hot Chili Peppers
24, Green Day
23, U2
21, Weezer
19, Pearl Jam
18, Linkin Park
18, The Offspring
17, Muse
17, The Smashing Pumpkins
“Lost” also begins at No. 6 on Mainstream Rock Airplay, also Linkin Park’s 18th top 10 and, in this case, its first since “Until It’s Gone” ruled for a week in 2014.
While Linkin Park makes its first appearance on a Billboard airplay tally in more than five years, Bennington’s voice has been heard on charted entries following his passing via the release of music from Grey Daze, his pre-Linkin Park band. That act’s “Sickness” hit No. 2 on Mainstream Rock Airplay in May 2020, followed by a No. 29 peak for “B12” that September.
More chart appearances for “Lost” are set for other Billboard charts dated Feb. 25 (all to refresh on Billboard.com Wednesday, Feb. 22). “Lost” is a taste of the 20th-anniversary reissue of Meteora, due April 7. The album debuted as Linkin Park’s first of six No. 1s on the Billboard 200, ruling for two weeks in April 2003.
Miley Cyrus’ “Flowers” and Bizarrap and Shakira’s “Bzrp Music Sessions, Vol. 53” unofficially kicked off the year in new music when they soared in at Nos. 1 and 2, respectively, on the Jan. 28-dated Billboard global charts. While they have yet to budge from the top two positions on Billboard Global Excl. U.S., and the former maintains its command on the Billboard Global 200, no new song has hit the top 10 of either ranking since. The Feb. 18-dated Global Excl. U.S. chart features just four new entries overall, matching a record low sum of weekly debuts since the survey began in September 2020.
One of the standout new arrivals is PinkPantheress and Ice Spice’s “Boy’s a Liar, Pt. 2,” starting at No. 54, as well as at No. 15 on the Global 200. The song premiered late in 2022 as a solo track for the former before being remixed and reissued as a duet with the later on Feb. 3. The remix sparks the song’s launch on the global charts (and the U.S.-based Billboard Hot 100, at No. 14), spiking by 328% to 36 million weekly streams worldwide in the week ending Feb. 9, according to Luminate (with all versions rolled up into one chart listing).
Both artists released their first singles in 2021 and, in less than two years, have built themselves up as two of the buzziest online acts. Including the original solo take of “Boy’s a Liar” (but before releasing the song’s instant-hit remix), the U.K.-born PinkPantheress amassed more than 1.2 billion global streams despite never cracking either global chart or the Hot 100. Originally released on Nov. 30, 2022, the solo version debuted to 2.2 million worldwide streams in its first week, before growing to a peak of 9.8 million in the week ending Jan. 26.
Despite Ice Spice’s less robust discography and lower international profile, the song’s explosion on the most recent charts owes much of its success to its new co-headliner, the fast-talking New York-based rapper. It’s reasonable to assume that she did not just help grow the track’s overall global stream count, but helped further increase the song’s presence in the U.S., as its domestic share of streams leaps from 39% to 56%, compared to the week’s overall average of 23%.
While “Boy’s a Liar, Pt. 2” scores the Hot Shot Debut on the Global 200, the highest new entry on Global Excl. U.S. is Léo Santana’s “Zona de Perigo.” The Brazilian artist scores his first title on either global chart, opening No. 48 on the Global 200. The bulk of the song’s start is owed to its official live-performance music video. Of its 29.5 million global streams, 29.3 million came from outside the U.S. and 61% stemmed from video platforms. That’s a higher share of video streams than all but eight songs on the 200-position Global Excl. U.S. chart, and all but three on the Global 200.
As Santana was busy scoring his first global chart hit, Karol G, from Colombia, follows with her 14th, as “X Si Volvemos,” with U.S.-born Romeo Santos (who adds his second), debuts at No. 30 on the Global 200 and No. 32 on Global Excl. U.S., powered by 29.6 million streams worldwide.
Lastly, Mexico’s Fuerza Regida and Natanael Cano enter Global Excl. U.S. and the Global 200 at Nos. 179 and 184, respectively, with “Ch y la Pizza” (13.9 million).
Both tracks show similar streaming splits, with 28% and 25%, respectively, from the U.S., striking a balance between PinkPantheress and Ice Spice’s domestic lean and Santana’s strong international favor.
With their first album in six years, This Is Why (via Atlantic/Warner), Paramore powers all the way to No. 1 in Australia.
This Is Why becomes Paramore’s third leader on the ARIA Chart, following Brand New Eyes (in 2009) and Paramore (2013). It’s their sixth studio album and the followup to 2017’s After Laughter, which peaked at No. 3 in these parts.
The reunited pop-rock trio of Hayley Williams, Taylor York and Zac Farro can boast another neat feat this week; This Is Why is the only new release to impact the ARIA Top 50.
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Completing the podium on the latest ARIA Albums Chart, published Feb. 17, is Harry Styles’ Harry’s House (Columbia/Sony), up 3-2 following his triumphant nights at the BRITs and Grammy Awards; and Taylor Swift’s Midnights (Universal), down 1-3.
Over on the ARIA Singles Chart, Miley Cyrus makes it five weeks in a row with “Flowers” (Columbia/Sony), a record that just seems to grow on fans.
The pop star’s reign could face a challenge from “Boy’s A Liar” (Plg/Warner) by PinkPantheress, the hotly-tipped British singer, songwriter and producer. “Boy’s A Liar” roars 25-3, following the release of a remix featuring U.S. rising star Ice Spice.
Also on the move up is Miguel’s 2010 release “Sure Thing” (Sony), which lifts 11-7 after getting the viral treatment on TikTok. That’s well-up on the original No. 11 peak for “Sure Thing” back in 2011, and it marks the U.S. R&B artist’s second top 10 appearance (his 2013 collaboration with Mariah Carey on “Beautiful” went to No. 6). “Sure Thing” is now three-times platinum certified.
Finally, American rapper and singer Coi Leray’s catchy number “Players” (Universal) is on the rise. It’s up 18-10.
Has Roman finally gotten revenge? “Roman Holiday,” the lead track from Nicki Minaj’s 2012 sophomore album Pink Friday: Roman Reloaded, has gone viral and climbed back onto streaming charts, nearly doubling its weekly streaming total thanks to recent fan outcries following the Grammy Awards earlier this month.
For their performance of their No. 1 smash “Unholy” at this year’s Grammys, Sam Smith and Kim Petras leaned into devilish imagery, complete with horns and red leather. Barbz were quick to hop online and point out that Minaj had earned criticism for her 2012 Grammys performance of “Roman Holiday,” which had a similarly winking demonic slant but was latter panned by conservative watch groups and longtime Grammys producer Ken Ehrlich, who called it “a disappointment both in terms of what we did and to an extent what she did.”
For Minaj diehards, the rapper seemingly being punished for her performance over a decade ago — Minaj has yet to return to the Grammys stage since the “Roman Holiday” spectacle, and has yet to win a Grammy, despite 10 career nominations — while Smith and Petras were lauded for their “Unholy” showcase, and soon awarded the best pop duo/vocal performance during the telecast, represented hypocrisy from the Recording Academy. (In the days following their own Grammys performance, Smith and Petras were also criticized, although the Recording Academy has not publicly dinged them.)
As a result, her fans began streaming “Roman Holiday,” and the non-single from Pink Friday: Roman Reloaded crashed the iTunes Chart 11 years after its release.
Weekly U.S. on-demand streams for “Roman Holiday” were up 99% during the week following this year’s Grammys, earning 125,000 streams during the week ending Feb. 9, according to Luminate. It also saw a tremendous jump in sales, going from a negligible weekly number to nearly 6,000 for the week. This isn’t the first time that “Roman Holiday” has gone viral — TikTok is full of sped-up versions of the track, dating back mostly to 2021 — but this time the resurgence is producing a sizable bump in listenership.
“Roman Holiday” never reached the Hot 100 upon its release, although Pink Friday: Roman Reloaded did spin off hits like “Starships,” “Pound the Alarm” and “Va Va Boom.” Last year, Minaj reached the top of the Hot 100 for the first time as a solo artist, thanks to “Super Freaky Girl.”
Following the 65th Grammy Awards Feb. 5, multiple songs, albums and artists show sizable surges in U.S. streams and sales, equating to gains on Billboard charts dated Feb. 18.
Among the most impactful: Sam Smith and Kim Petras’ “Unholy,” which lifts 5-4 on the multi-metric Billboard Hot 100 after being performed during the ceremony (broadcast on CBS) and winning for best pop duo/group performance.
In the Feb. 3-9 tracking, the former No. 1 earned 17.9 million official U.S. streams, up 16%, according to Luminate.
A pair of songs that were also part of the festivities — Beyoncé’s “Cuff It” and Harry Styles’ “As It Was” — sport gains as well, the former returning to the Billboard Hot 100’s top 10 while the latter extends its run in the region. “Cuff It,” which vaults 15-6 for a new high, earned a 37% boost in streams to 9.4 million, along with 78,000 in sales, up 4,026%, due in part to newly released remixes and its Grammy win for best R&B song.
Former 15-week Hot 100 No. 1 “Was” dips 9-10 but jumped 21% in streams to 12.4 million and 289% to 7,000 sold. Styles performed the song during the broadcast, while parent album Harry’s House took home album of the year honors.
Outside the Hot 100’s top 10, Lil Uzi Vert’s “Just Wanna Rock,” the closing song of the Grammy’s 50th anniversary pf hip-hop medley, backtracks to No. 12 from its No. 10 high but is up in overall metrics, garnering a 5% gain to 15.7 million streams, alongside 2,000 sold, up 18%. Elsewhere within the top 30, Luke Combs’ “Going, Going, Gone” pushes 24-23 after his performance of the song during the telecast, with 10.7 million streams, up 6%, and 3,000 sold, up 71%.
Lizzo‘s former two-week Hot 100 No. 1 “About Damn Time” climbs 50-41 after she performed the song and it won for record of the year nod, garnering 6.2 million streams, up 20%, and 5,000 sold, up 295%.
In all, 10 songs performed during the Grammy broadcast are among the 2,000 most-streamed titles of the week Feb. 3-9 in the U.S. and garnered at least a 5% gain:
Performed
Sam Smith & Kim Petras, “Unholy” (17.9 million streams, up 16%)
Lil Uzi Vert, “Just Wanna Rock” (15.7 million streams, up 5%)*
Harry Styles, “As It Was” (12.4 million streams, up 21%)
Steve Lacy, “Bad Habit” (11.6 million streams, up 6%)
Luke Combs, “Going, Going, Gone” (10.7 million streams, up 6%)
Lil Baby, “Freestyle” (8.1 million streams, up 6%)*
Lizzo, “About Damn Time” (6.2 million streams, up 20%)
Bad Bunny, “Después de la Playa” (3.1 million streams, up 34%)
Nelly, “Hot in Herre” (1.8 million streams, up 5%)*
DJ Khaled feat. Rick Ross, Lil Wayne, Jay-Z, John Legend & Fridayy, “God Did” (1.7 million streams, up 57%)
(*performed during the Grammy’s hip-hop medley)
Additionally, nine songs that won Grammy awards, either during the main ceremony or during the pre-telecast, were both up at least 5% and within the top 2,000 songs in U.S. streams Feb. 3-9.
Won
Sam Smith & Kim Petras, “Unholy” (17.9 million streams, up 16%) (best pop duo/group performance)
Future feat. Drake & Tems, “Wait for U” (10.9 million streams, up 5%) (best melodic rap performance)
Beyoncé, “Cuff It” (9.4 million streams, up 37%) (best R&B song)
Lizzo, “About Damn Time” (6.2 million streams, up 20%) (record of the year, best remixed recording, non-classical)
Adele, “Easy on Me” (5.8 million streams, up 16%) (best pop solo performance)
Cody Johnson, “’Til You Can’t” (4.8 million streams, up 7%) (best country song)
Beyoncé, “Break My Soul” (3.5 million streams, up 41%) (best dance/electronic recording)
Muni Long, “Hrs and Hrs” (3.5 million streams, up 8%) (best R&B performance)
Taylor Swift, “All Too Well (Taylor’s Version)” (3.3 million streams, up 9%) (best music video)
Concurrently, the Billboard 200 dated Feb. 18 reflects multiple bumps for albums either prominently featured during the Grammys or by artists who appeared at the ceremony. Leading the way, Bad Bunny’s Un Verano Sin Ti rises 8-7 with 45,000 equivalent album units, up 16%. Aforementioned album of the year winner Harry’s House follows, jumping 13-9 with 38,000 units, a 51% boost.
Samara Joy’s Linger Awhile also appears on the Billboard 200 for the first time, debuting at No. 158 (8,000 units, up 319%) following her best new artist victory.
Linkin Park‘s anniversary plans for their 2003 album Meteora this spring are already off to a soaring start. A reissue of the soon-to-be-20-year-old album was recently announced for this April, along with exciting news of a previously unreleased song from the era (featuring original vocals from the band’s late frontman Chester Bennington) being discovered for the set: the appropriately haunting “Lost.”
Released on Friday (Feb. 10), “Lost” has enjoyed the kind of explosive first week the band used to regularly post with new singles during their commercial prime. The song started with nearly 2 million official on-demand U.S. streams its debut day, and earned 7.1 million total plays through Tuesday (Feb. 14), according to Luminate — while also putting up robust sales numbers, moving nearly 11,000 copies over that timespan. It even has started to make radio impact, with 7.1 million in all-format radio audience from Feb. 10-13.
The extra attention around “Lost” and the Meteora reissue (scheduled for Apr. 7 via Warner) has also led to a bump in the songs from that original RIAA seven-times-platinum-certified 2003 blockbuster. The album, which features such Linkin Park staples as “Numb,” “Faint,” “Somewhere I Belong” and “Breaking the Habit,” jumped from just over 1.7 million combined official on-demand U.S. streams the day before “Lost” to nearly 2.3 million on the day of its release, a gain of 32%.
“Lost” should make a significant impact on the Billboard charts next week (dated Feb. 25), including a likely debut on the Billboard Hot 100 — which would be the band’s first since they reached No. 45 with the Kiiara-featuring “Heavy” in Aug. 2017, following Bennington’s tragic death at the age of 41 that July. (If it made the chart’s top 40, that would be their first visit to the region since “Burn It Down” reached No. 30 in May 2012.)