Chart Beat
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Billboard will shift its airplay chart tracking week for all radio formats to Friday-through-Thursday beginning with Luminate-based charts dated Dec. 31. The schedule will switch from the Monday-through-Sunday tracking week previously used for all individual formats.
The all-format Radio Songs chart, which contributes to the all-genre, multi-metric Billboard Hot 100, already uses a Friday-through-Thursday tracking week, having segued to that schedule in July 2021.
Moving charts to a Friday-through-Thursday tracking period will align airplay with the streaming and sales tracking week, and allow for visible building chart tracking, within Luminate’s Music Connect platform, which operates under that song consumption timeline.
The dates for making the airplay chart tracking week change for all formats are as follows:
Charts finalized Monday, Dec. 19 and updated on Billboard.com Tuesday, Dec. 20 (dated Dec. 24) used data from Monday, Dec. 12 through Sunday, Dec. 18 (marking the last charts reflecting a Monday-through-Sunday tracking week).
Charts finalized Friday, Dec. 23 and to be updated on Billboard.com Wednesday, Dec. 28 (dated Dec. 31) will use data from Friday, Dec. 16 through Thursday, Dec. 22 (marking the first charts reflecting a Friday-through-Thursday tracking week).
The Friday-through-Thursday tracking week will continue to be used for airplay charts finalized Friday, Dec. 30 and to be updated on Billboard.com Wednesday, Jan. 4 (dated Jan. 7), using data from Friday, Dec. 23 through Thursday, Dec. 29, and for each week thereafter.
As previously reported, data and insights company Luminate, which provides data for Billboard’s charts, has partnered with airplay monitoring service Mediabase, and the latter’s radio tracking data began fueling Billboard surveys reflecting airplay activity dated Nov. 12. (Click here for more information, via Luminate, about the BDS/Mediabase transition, for Luminate subscribers with access to Luminate’s Music Connect platform.)
Along with Radio Songs, Billboard’s United States-based airplay charts encompass: Pop Airplay (Mainstream Top 40); Adult Pop Airplay (Adult Top 40); Adult Contemporary; Country Airplay; Rock & Alternative Airplay; Alternative Airplay; Adult Alternative Airplay (Triple A); Mainstream Rock Airplay; R&B/Hip-Hop Airplay; Mainstream R&B/Hip-Hop Airplay; Adult R&B Airplay; Rap Airplay; Rhythmic Airplay; Latin Airplay; Regional Mexican Airplay; Latin Pop Airplay; Latin Rhythm Airplay; Tropical Airplay; Christian Airplay; Christian AC Airplay; Gospel Airplay; Dance/Mix Show Airplay; Smooth Jazz Airplay; and the seasonal Holiday Airplay chart.
All Billboard charts, viewable here, regularly update on Billboard.com each Tuesday.
Manuel Turizo adds a 14th week at No. 1 on the Billboard Argentina Hot 100 chart (dated Dec. 17). In addition to becoming 2022’s longest domination, it breaks a tie from Sech, Darell, Nicky Jam, Ozuna & Anuel AA’s “Otro Trago” for the third-most weeks atop the ranking since the chart launched in 2018. Here’s the leaderboard:
Weeks at No. 1, Title, Artists25 weeks, “Tusa,” Karol G & Nicki Minaj16 weeks, “Entre Nosotros,” Tiago pzk, Lit Killah, Nicki Nicole & Maria Becerra14 weeks, “La Bachata,” Manuel Turizo13, weeks, “Otro Trago,” Sech, Darell, Nicky Jam, Ozuna & Anuel AA12 weeks, “Hawai,” Malum & The Weeknd12 weeks, “Calma (Alicia remix), Pedro Capó & Farruko
Argentinian La Mosca Tsé -Tsé is in double celebration of chart achievement and victory after Argentina beat France to become the 2022 World Cup champions. In addition to securing its first top 10, the ensemble takes the Greatest Gainer trophy of the week as its latest single, “Muchachos, Ahora Nos Volvimos a Ilusionar,” surges 55-2 in its second week.
Rosalía’s “Despechá” remains at No. 3, Bizarrap and Quevedo’s “Bzrp Music Sessions, Vol. 52” drops 2-4, while La Joaqui, Gusty DJ Salsatkbron’s “Dos Besitos” dips 4-5.
Further, the week’s Hot Shot Debut goes to Maria Becerra’s “La Nena de Argentina” as the song arrives at No. 24. The tune is the title track of Becerra’s second studio album under the same name. Plus, Becerra boasts another entry from the same set: “Adios,” which opens at No. 79. With both new entries, the singer adds 35 total career entries, tying with Anuel AA, Duki, Ozuna and Rauw Alejandro for the fourth-most overall. Here’s the scoreboard:
54, Bad Bunny49, J Balvin40, Bizarrap35, Anuel AA35, DuKi35, Maria Becerra35, Ozuna,35, Rauw Alejandro
Four other songs debut this week, starting with Nacho and Marama’s “La Culpa” at No. 91, Juanes follows with “Amores Prohibidos” at No. 92, MYA’s “Bikini” at No. 94 and lastly, Camilo and Myke Towers team-up with “Bebiendo Sola” at No. 98.
SZA is celebrating the success of her sophomore album, SOS.
The TDE singer-songwriter shared her excitement about earning her first No. 1 album on the Billboard 200 with SOS, and notching two top 10 songs on the Billboard Hot 100 chart with the set’s “Kill Bill” (No. 3) and “Nobody Gets Me” (No. 10).
“A number one album and two songs in the top ten is NOT what I expected,” SZA captioned her Instagram post, which included a gallery of photos and chart stats. “I’m bad at celebrating myself but I wanna thank everybody that rallied around me and positively reinforced me these last few years.”
She added, “Thank you to every person that poured into this album. I love my team. Thank y’all for loving and arguing about the album Lmaoo. Imma take another swing at it for the deluxe then shut up for a while. God is excellent.”
SOS earns SZA her third Billboard 200 entry after her debut album, Ctrl, reached No. 3 in 2017, and EP Z peaked at No. 39 in 2014. SOS‘ “Kill Bill” and “Nobody Gets Me” give SZA her sixth and seventh Hot 100 top 10s.
SZA’s celebratory Instagram post included screenshots of the Billboard article boasting her first No. 1 album on the Billboard 200, along with a screen grab of her Hot 100 chart accomplishments. The carousel also featured a cute snapshot of the artist, whose real name is Solana Imani Rowe, posing with a large foam finger and shiny balloons spelling out “Solana #1,” and a hilarious Saturday Night Live video clip of Bowen Yang quoting her new song “Smoking on My Ex Pack” while dressed as Krampus on “Weekend Update.”
Her post drew numerous accolades in the comments section from fellow music stars Lizzo, Demi Lovato, Busta Rhymes and Benny Blanco.
“Yayy,” Lizzo commented, who also added a second comment praising the “Solana #1” photo. Lovato opted for a pair of flame and raising-hands emojis. And Rhymes added numerous crown emojis, while Blanco wrote, “i swear if u ran for president i would vote for u.”
SZA‘s hotly anticipated 23-track SOS arrived on Dec. 9 after a five-and-a-half year wait. Preceded by lead single “Shirt” and a tease of “Nobody Gets Me,” the set follows the recent Billboard cover star‘s smash 2017 album, Ctrl, which spawned hits such as “Drew Barrymore,” “Love Galore” and “The Weekend.”
See SZA’s post on Instagram below.
Morgan Wallen claims a share of history on Billboard’s Country Airplay chart as “You Proof” hits a record-tying eight weeks atop the survey.
The song, up 5% to 25.1 million audience impressions Dec. 12-18, according to Luminate, matches the No. 1 Country Airplay runs of Alan Jackson and Jimmy Buffett’s “It’s Five O’Clock Somewhere” (2003) and Lonestar’s crossover hit “Amazed” (1999), dating to the chart’s start in 1990.
“You Proof,” released on Big Loud Records, is also the first Country Airplay No. 1 to withstand multiple other leaders amid its command. After it ruled for five weeks (Oct. 15-Nov. 12), Tyler Hubbard’s “5 Foot 9” topped the Nov. 19 chart, followed by Thomas Rhett’s “Half of Me,” featuring Riley Green (Nov. 26). After “You Proof” led again on the Dec. 3 tally, Bailey Zimmerman’s “Fall in Love” paced the Dec. 10 chart, ahead of the two latest weeks at No. 1 for “You Proof” (Dec. 17 and 24).
Wallen co-wrote “You Proof,” his seventh Country Airplay leader, with ERNEST, Ashley Gorley, Keith Smith and Charlie Handsome, the latter of whom also produced it with Joey Moi.
Concurrently, “You Proof” leads the streaming-, airplay- and sales-based Hot Country Songs chart for an 18th week, becoming one of only 10 singles to reign for at least that long (since the list became an all-encompassing genre survey in 1958). It holds at the summit with 28.1 million in all-format radio audience, 12.6 million official streams and 2,000 downloads sold in the U.S. Dec. 9-15.
Barrett Moves ‘Up’
Gabby Barrett nets her third Country Airplay top 10 as “Pick Me Up,” which she co-wrote, pushes 11-9 (18 million, up 9%). Her first two entries (among four so far) each hit No. 1: “I Hope,” for a week in April 2020, and “The Good Ones,” for three frames starting in April 2021.
‘Tequila’ Talkin’
Jason Aldean scores his 36th Country Airplay top 10 as “That’s What Tequila Does” rises 12-10 (16.1 million, up 18%). The single follows “Trouble With a Heartbreak,” which became his 25th leader when it began a three-week reign in May. His first entry, “Hicktown,” marked his first top 10 (No. 10, 2005).
Aldean ties Garth Brooks and Blake Shelton for the ninth-most Country Airplay top 10s. George Strait leads all acts with 61, followed closely by Kenny Chesney (60) and Tim McGraw (59).
Anuel AA nets his fifth straight top five album on Billboard’s Top Latin Albums chart as his latest release, LLNM2, debuts at No. 2 on the Dec. 24-dated ranking. The Puerto Rican’s fourth solo studio album boasts the fifth-largest opening sum of 2022 among Latin albums.
LLNM2 starts with 23,000 equivalent album units earned in the U.S. in the week ending Dec. 15, according to Luminate. The 33-track set was released Dec. 9 via Anuel’s label Real Hasta La Muerte.
Among all Latin albums in 2022 (anything that reached the Top Latin Albums chart), LLNM2 posts the fifth-largest opening sum, behind Bad Bunny’s Un Verano Sin Ti (273,000 units), Eslabon Armado’s Nostalgia (29,000), Daddy Yankee’s Legendaddy (29,000) and Romeo Santos’ Formula, Vol. 3 (26,000).
On the multi-metric Top Latin Albums chart as measured in equivalent album units, 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.
Streaming comprises 22,000 of LLNM2’s first-week units, which equates to 33 million on-demand official streams of the album’s songs. The remaining 1,000 stem from traditional album units and track-equivalent album units.
LLNM2 follows Anuel’s fourth-studio album, Las Leyendas Nunca Mueren, which debuted in Dec. 2021 at No. 1, where it remained for two weeks. Notably, Emmanuel, his second entry, holds strong at No. 31 on Top Latin Albums in its 133rd week on the tally.
As LLNM2 arrives, four tracks secure a spot on the multi-metric Hot Latin Songs chart, three debuts and a reentry, starting with “La Máquina” at No. 23. The song earned 2.75 million clicks in the tracking week ending in Dec. 15. Here are the new recruits:
No. 23, “La Máquina,” with Jowell & Randy & De La Ghetto, featuring Yailin La Mas ViralNo. 40, “BRRR”No. 44, “Sufro,” with Kodak Black & Nengo FlowNo. 54, “Si Yo Me Muero” (reentry)
Elsewhere, LLNM2 debuts on the all-genre Billboard 200 at No. 30 and at No. 2 on Latin Rhythm Albums.
The holiday spirit is in the air on Billboard’s Hot Trending Songs chart, powered by Twitter and sponsored by Xfinity Mobile, as Red Velvet and aespa’s “Beautiful Christmas” tops the Dec. 24-dated list.
Billboard’s Hot Trending charts, powered by Twitter and sponsored by Xfinity Mobile, track global music-related trends and conversations in real-time across Twitter, viewable over either the last 24 hours or past seven days. A weekly, 20-position version of the chart, covering activity from Friday through Thursday of each week, posts alongside Billboard’s other weekly charts on Billboard.com each Tuesday, with the latest tracking period running Dec. 9-15.
“Beautiful Christmas,” the first collaboration – holiday or otherwise – between South Korean labelmates Red Velvet and aespa, premiered Dec. 14, with a teaser going up on Dec. 12.
It’s the first No. 1 on the weekly Hot Trending Songs chart for both groups; aespa previously peaked at No. 6 with both “Savage” (2021) and “Girls” (2022), while Red Velvet reached No. 16 with “Feel My Rhythm” earlier this year.
Further chart appearances for the song are possible upon its first full week of tracking, running Dec. 16-22 and for the Billboard charts dated Dec. 31.
“Beautiful Christmas” is followed by NewJeans’ “Ditto,” which was teased during the latest tracking period and released in full Dec. 19. An additional to-be-released song from the South Korean quintet, “OMG,” bows at No. 5.
Keep visiting Billboard.com for the constantly evolving Hot Trending Songs rankings, and check in each Tuesday for the latest weekly chart.
Taylor Swift’s “Anti-Hero” ascends to No. 1 on Billboard’s mainstream top 40-based Pop Airplay chart (dated Dec. 24). The song becomes her milestone 10th leader on the survey, dating to her first, “Love Story,” in 2009.
Swift becomes the first woman to have topped Pop Airplay in the 2000s, ’10s and ’20s and the second act overall to achieve the feat, after Maroon 5.
Here’s a recap of Swift’s 10 Pop Airplay No. 1s:
Title, Weeks at No. 1, Year(s)
“Love Story,” one, 2009
“I Knew You Were Trouble.,” seven, 2013
“Shake It Off,” two, 2014
“Blank Space,” six, 2014-15
“Style,” three, 2015
“Bad Blood” (feat. Kendrick Lamar), five, 2015
“Wildest Dreams,” two, 2015
“Look What You Made Me Do,” one, 2017
“Delicate,” one, 2018
“Anti-Hero,” one (to-date), 2022
Swift moves to within one of the record for the most Pop Airplay No. 1s since the chart began in 1992. Maroon 5, Katy Perry and Rihanna have all notched 11 leaders, while Swift ties Justin Bieber, also with 10.
“Anti-Hero” blasted in atop the all-genre, multi-metric Billboard Hot 100 chart dated Nov. 5, as Swift made history as the first artist to monopolize the chart’s entire top 10 in a single week, with all tracks all from her new Republic Records album Midnights. The song reigned in its first six weeks on the Hot 100, becoming just the 10th single to have spent at least its first six weeks on the chart at No. 1.
The set’s “Lavender Haze,” which opened at No. 2 on the Nov. 5 Hot 100, is the second Midnights single at pop radio and rises to a new No. 16 high on Pop Airplay.
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SZA debuts a whopping 20 songs from her sophomore LP SOS, on the Billboard Hot 100 chart (dated Dec. 24), including two in the top 10. The set launches at No. 1 on the Billboard 200 albums chart, marking her first leader and sparking her first week atop the Billboard Artist 100 ranking.
SOS arrives at No. 1 on the Billboard 200 with 318,000 equivalent album units earned, according to Luminate. That’s the seventh-largest one-week total of the year and the second-biggest among R&B albums, after only the first week of Beyonce’s Renaissance (332,000, Aug. 13).
SZA scores her third Billboard 200 entry, after her debut LP Ctrl reached No. 3 in 2017 and EP Z peaked at No. 39 in 2014.
Of the 23 tracks on SOS, 20 debut on the Hot 100, including two in the top 10: “Kill Bill” (No. 3) and “Nobody Gets Me” (No. 10). Meanwhile “Shirt” jumps from No. 62 to No. 18 after reaching No. 11 in November. The two other songs on the album, “I Hate U” and “Good Days,” peaked at Nos. 7 and 9, respectively, in 2021.
Here’s a recap of SZA’s songs on the latest Hot 100 (all of which are debuts except where noted):
Hot 100 Rank, Title
No. 3, “Kill Bill”
No. 10, “Nobody Gets Me”
No. 12, “Blind”
No. 18, “Shirt” (up from No. 62; reached No. 11 in November)
No. 21, “Love Language”
No. 24, “Seek & Destroy”
No. 29, “Snooze”
No. 30, “Used,” feat. Don Toliver
No. 32, “SOS”
No. 37, “Special”
No. 40, “Ghost in the Machine,” feat. Phoebe Bridgers
No. 43, “Gone Girl”
No. 44, “Notice Me”
No. 52, “Smoking on My Ex Pack”
No. 54, “Open Arms,” feat. Travis Scott
No. 55, “F2F”
No. 58, “Conceited”
No. 61, “Far”
No. 62, “Too Late”
No. 76, “Forgiveless,” feat. Ol’ Dirty Bastard
“Kill Bill” and “Nobody Gets Me” earn SZA her sixth and seventh Hot 100 top 10s. She also ups her career totals to 23 top 40 hits and 37 overall entries. She first charted in July 2017 with “Love Galore,” featuring Travis Scott (No. 32 peak).
Among the new album’s featured artists, Phoebe Bridgers notches her first top 40 Hot 100 hit, after reaching No. 43 in 2021 as featured on Taylor Swift’s “Nothing New (Taylor’s Version) (From the Vault)” and No. 57 in 2020 with Maggie Rogers on their cover of Goo Goo Dolls’ “Iris.” Plus, Ol’ Dirty Bastard returns to the Hot 100 for the first time since 2004, adding his eighth solo entry in a history on the chart (he earned two additional chart hits as a member of Wu Tang Clan — “Method Man” in 1993 and “C.R.E.A.M. (Cash Rules Everything Around Me)” in 1994).
Meanwhile, SOS spurs SZA’s 42-1 vault on the Artist 100, as she rules as the top musical act in the U.S. for the first time. Also contributing to her reign is Ctrl, which rises 35-28 on the Billboard 200 (23,000 units, up 17%). With 288 weeks to-date, it’s the second-longest-charting R&B album by a woman in the list’s history, after Rihanna’s ANTI (346 weeks and counting).
The Artist 100 measures artist activity across key metrics of music consumption, blending album and track sales, radio airplay and streaming to provide a weekly multi-dimensional ranking of artist popularity.
MUMBAI — In a post-pandemic year when Hindi films finally returned to the cinemas in full force, their soundtracks were expected to claim back some of the audience they lost to “non-film” releases on Indian music streaming services. That didn’t happen.
In 2022, Bollywood lost some of its clout to movies from south India at the box-office — such as the Oscar-tipped Telugu blockbuster RRR. And on the audio-streaming charts, regional language and independent music proved that the growth of the non-film segment over the last two years wasn’t just a passing fad.
The past 12 months have shown India’s music industry that a hit can come from just about anywhere, such as a TV series in Pakistan or a Punjabi rapper in Canada. Or even from a pathologist and part-time Hindi singer in Chandigarh like Aditya A., whose two-year-old song “Chaand Baaliyaan” went viral on Instagram Reels, reached No. 5 on Spotify for the year and landed him a deal with Sony Music India.
Billboard’s look at the most-played (and viewed) tracks of 2022 on Apple Music, Spotify and YouTube in India highlights the ways in which the country’s consumption patterns are evolving and how the nation, with its continent-like range of states and languages, is among the most dynamic music markets in the world.
International music’s share is shrinking
A sole English-language track, short format video sensation “Heat Waves” by Glass Animals, is on Spotify’s year-end top 10. None appear on Apple Music, on which “Heat Waves” was also the most-heard international song of 2022 (it’s in the top 15 on the platform). A year ago hits in non-Indian languages represented 40% of 2021’s top 10 tunes on both services. However, this doesn’t mean that listenership of international music is falling. As Spotify and Apple Music — global platforms whose early adopters were English-speaking users in large cities — expand their customer bases in India, consumption is increasing in absolute terms, even though the overall share of foreign tracks on the services is decreasing. Significantly, international hits account for nearly 30% of Spotify’s top 100 of 2022. Short format video fueled the streaming success of a majority of these songs, such as Ruth B.’s “Dandelions” from 2017 and Elley Duhé’s “Middle Of The Night” from 2020.
Bollywood isn’t as big as it used to be
Bollywood or Hindi film music’s share of overall listenership has been steadily falling over the last three years and this is reflected once again in 2022’s biggest hits. The percentage of Bollywood songs in Spotify’s year-end top 10 fell from 80% in 2020 to 30% this year, a proportion that includes two older tracks, “Raataan Lambiyan” and “Ranjha” from Shershaah, which were No. 1 and No. 2 for all of 2021. This time, the highest-ranked Hindi film hit is another ballad, “Kesariya” from Brahmastra, at No. 3. On Apple Music’s year-end top 10, the decline has been more gradual, from 50% in 2020 to 40% in 2021 and 30% in 2022, a share made up of the aforementioned “Ranjha” and “Kesariya” and “Doobey” from Gehraiyaan. Surprisingly, there’s not a single Bollywood smash in YouTube’s list of top 10 music videos, which only lists 2022 releases. There were two in 2020 and in 2021 when the No. 1 video of the year was “Lut Gaye” from the movie Mumbai Saga.
Regional language music rules YouTube
The consumption of music in Indian regional languages — songs in languages apart from Hindi, Urdu and English — has been increasing exponentially as internet penetration rises and streaming services gain users across the country’s smaller cities, towns and rural areas. Regional language music streamers’ first port of call is YouTube on which the 2022 top 10 includes tracks in Tamil (the official music and lyric videos of “Arabic Kuthu” from the film Beast), Haryanvi (“Kacha Badam”, a remake of a viral Bengali hit), Bhojpuri (“Le Le Aayi Coca Cola” and “Nathuyina”), Telugu (“Oo Antava Mawa Oo Oo Antava” from the movie Pushpa: The Rise) and Punjabi (“Pasoori” from the Pakistani version of music TV series Coke Studio). Notably, the three Hindi tracks that make up the rest of the chart — “Srivalli,” “Saami Saami” and “Oo Bolega Ya Oo Oo Bolega” — are dubbed versions of Telugu tunes from the soundtrack of Pushpa, an action drama that was also released in Kannada, Malayalam and Tamil.
Punjabi music has crossed over into the mainstream
Out of all of India’s regional languages, Punjabi music has the largest listenership, thanks partly to its similarity to Hindi. Over the last two decades, it’s become increasingly common for Hindi film songs to have Punjabi lyrics. Punjabi’s music popularity has even spread to parts of the country where it isn’t widely spoken. Evidence of this is seen on Apple Music’s top 10 for 2022 on which Punjabi hits comprise the top eight. Five of them feature Canadian hip-hop artist A. P. Dhillon whose breakthrough smash “Brown Munde” was No. 1 for 2021 and whose “Excuses” was No. 1 all this year. “Excuses” tops Spotify’s list too. But the Punjabi music party is not limited to one act. “No Love” by Canadian rapper and singer Shubh is No. 4 on Spotify and “Bijlee Bijlee” by pop singer and actor Harrdy Sandhu is No. 7 on Apple Music.
“Pasoori” proves a cross-border sensation
Strained relations between India and Pakistan have led to a ban on Indian films in Pakistan and a similar restriction on the hiring of Pakistani actors and singers in India. But when it comes to the charts, both nations love thy neighbor. The only hit to feature across the year-end top 10s of Spotify, Apple Music and YouTube is “Pasoori” by singer-composer Ali Sethi, vocalist Shae Gill and producer Zulfiqar ‘Xulfi’ Jabbar Khan. The song, created for the fourteenth season of Coke Studio Pakistan. “Pasoori,” was the third highest streamed track on Indian streaming platform Wynk Music after “Kesariya” and “Arabic Kuthu.” It was also the most-played tune on Amazon Music in India, which is currently available only to subscribers of its Prime service. Conversely, Indian hip-hop stars A. P. Dhillon, Shubh and King feature in the top 10 of 2022 on Spotify in Pakistan.
Top 10 Songs of 2022 on Spotify in India
1. “Excuses”, A. P. Dhillon, Gurinder Gill and Intense, Run-Up Records
2. “Pasoori” (from Coke Studio Pakistan 14), Shae Gill and Ali Sethi, Giraffe Pakistan
3. “Kesariya” (from Brahmastra), Pritam, Arijit Singh and Amitabh Bhattacharya, Sony Music
4. “No Love,” Shubh
5. “Chaand Baaliyan,” Aditya A., Sony Music
6. “Raataan Lambiyan” (from Shershaah), Tanishk Bagchi, Jubin Nautiyal and Asees Kaur, Sony Music
7. “Heat Waves,” Glass Animals, Polydor
8. “Tu Aake Dekhle,” King, Kingsclan Records
9. “Arabic Kuthu – Halamithi Habibo” (from Beast), Anirudh Ravichander, Jonita Gandhi and Sivakarthikeyan, Sun Pictures
10. “Ranjha” (from Shershaah), Jasleen Royal and B. Praak, Sony Music
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Top 10 Songs of 2022 on Apple Music in India
1. “Excuses,” A. P. Dhillon, Gurinder Gill and Intense, Run-Up Records
2. “Desires,” A. P. Dhillon and Gurinder Gill, Run-Up Records
3. “Pasoori” (from Coke Studio Pakistan 14), Shae Gill and Ali Sethi, Giraffe Pakistan
4. “Insane,” A. P. Dhillon, Shinda Kahlon, Gurinder Gill and Gminxr, Run-Up Records
5. “Ranjha” (from Shershaah), Jasleen Royal and B. Praak, Sony Music
6. “Spaceship,” A. P. Dhillon, Shinda Kahlon and Gminxr, Run-Up Records
7. “Bijlee Bijlee,” Harrdy Sandhu, B. Praak and Jaani, Desi Melodies/Universal Music
8. “Tere Te,” A. P. Dhillon and Gurinder Gill, Run-Up Records
9. “Kesariya” (from Brahmastra), Pritam, Arijit Singh and Amitabh Bhattacharya, Sony Music
10. “Doobey” (from Gehraiyaan), OAFF, Savera, Lothika and Kausar Munir, Sony Music
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Top 10 Music Videos of 2022 on YouTube in India
1. “Srivalli” (from Pushpa: The Rise), Devi Sri Prasad, Javed Ali and Raqueeb Alam, T-Series
2. “Arabic Kuthu – Halamithi Habibo – Lyric Video” (from Beast), Anirudh Ravichander, Jonita Gandhi and Sivakarthikeyan, Sun Pictures
3. “Saami Saami” (from Pushpa: The Rise), Devi Sri Prasad, Sunidhi Chauhan and Raqueeb Alam, T-Series
4. “Kacha Badam,” Bhuban Badyakar and Amit Dhull, Bajewala Records
5. “Le Le Aayi Coca Cola,” Khesari Lal Yadav, Shilpi Raj, Prakash Barud and Sarvind Malhar, Gannayak Films
6. “Oo Bolega Ya Oo Oo Bolega” (from Pushpa: The Rise), Devi Sri Prasad, Kanika Kapoor and Raqueeb Alam, T-Series
7. “Oo Antava Mawa Oo Oo Antava” (from Pushpa: The Rise), Devi Sri Prasad, Indravathi Chauhan and Chandrabose, Aditya Music
8. “Pasoori” (from Coke Studio Pakistan 14), Shae Gill and Ali Sethi, Giraffe Pakistan
9. “Arabic Kuthu – Halamithi Habibo” (from Beast), Anirudh Ravichander, Jonita Gandhi and Sivakarthikeyan, Sun Pictures
10. “Nathuyina,” Khesari Lal Yadav, Priyanka Singh, Krishna Bedardi, Laxmikant-Pyarelal and Majrooh Sultanpuri, Saregama