Chart Beat
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Mariah Carey‘s “All I Want for Christmas Is You” holds at No. 1 on both the Billboard Global 200 and Billboard Global Excl. U.S. charts. The carol adds an 11th total week at No. 1 on the former and a sixth week atop the latter, dating to the charts’ inceptions two years ago.
Pls, SZA‘s “Kill Bill,” from her new album, SOS, blasts onto the Global 200 at No. 5, while holiday hits by Brenda Lee, Bobby Helms, Andy Williams and Michael Bublé, among others, make further worldwide gains.
The two global charts, which began in September 2020, rank songs based on streaming and sales activity culled from more than 200 territories around the world, as compiled by Luminate. The Billboard Global 200 is inclusive of worldwide data and the Billboard Global Excl. U.S. chart comprises data from territories excluding the U.S.
Chart ranks are based on a weighted formula incorporating official-only streams on both subscription and ad-supported tiers of audio and video music services, as well as download sales, the latter of which reflect purchases from full-service digital music retailers from around the world, with sales from direct-to-consumer (D2C) sites excluded from the charts’ calculations.
‘Christmas’ Tops Global 200, ‘Kill Bill’ Debuts
Mariah Carey’s “All I Want for Christmas Is You” keeps at No. 1 on the Billboard Global 200 with 93.6 million streams (up 10%) and 16,000 sold (up 50%) worldwide in the Dec. 9-15 tracking week. The modern holiday classic, released in 1994, adds an 11th week at the summit, and third this holiday season, after it led for four weeks each over the 2020 and 2021 holidays.
Brenda Lee’s “Rockin’ Around the Christmas Tree,” originally released in 1958, hits a new Global 200 high, making a 4-2 party hop with 67.3 million streams (up 18%) and 6,000 sold (up 5%). It reached a previous No. 3 best in each of the past two holiday seasons.
Wham!’s “Last Christmas,” from 1984, dips to No. 3 from its No. 2 Global 200 high and the late Bobby Helms’ “Jingle Bell Rock,” from 1957, rises 6-4, returning to its best rank reached over both the 2020 and 2021 holidays.
SZA’s “Kill Bill” soars onto the Global 200 at No. 5 with 57.9 million streams and 1,000 sold worldwide. The song, from her album, SOS – new at No. 1 on the U.S.-based Billboard 200 chart – marks her third top 10 since the Global 200 began, and highest-charting with lead billing, following her featured turn on Doja Cat’s “Kiss Me More” (No. 3, May 2021) and her own “Good Days” (No. 7, February 2021).
Elsewhere in the Global 200’s top 10, the late Andy Williams’ 1963 chestnut “It’s the Most Wonderful Time of the Year” pushes 14-9 (43.5 million streams, up 16%; 2,000 sold, up 8%, worldwide); it hit a No. 7 high in the 2020 holiday season.
Carey Crowns Global Excl. U.S.; Lee, Bublé Bound
Mariah Carey’s “All I Want for Christmas Is You” continues atop the Billboard Global Excl. U.S. chart, with 57.1 million streams (up 7%) and 5,000 downloads sold (up 8%) in territories outside the U.S. Dec. 9-15. The song adds a sixth total week at No. 1, and second this Yuletide season, after it ruled for a week during the 2020 holidays and for three frames over last year’s holiday season.
Wham!’s “Last Christmas” holds at its No. 2 Global Excl. U.S. high; Sam Smith and Kim Petras’ “Unholy” is steady at No. 3 after eight nonconsecutive weeks on top, beginning in October; Rema and Selena Gomez’s “Calm Down” repeats at its No. 4 best; and Brenda Lee’s “Rockin’ Around the Christmas Tree” dashes 9-5 (32.3 million streams, up 16%; 1,000 sold, up 9%, outside the U.S.), hitting the top five for the first time.
Also in the Global Excl. U.S. top 10, Michael Bublé’s “It’s Beginning to Look a Lot Like Christmas,” released in 2011, jumps 11-6 (28.7 million streams, up 8%; 2,000 sold, up 5%, outside the U.S.), revisiting its high reached over last year’s holidays, and Bobby Helms’ “Jingle Bell Rock” reaches the region for the first time, as it goes gliding 18-10 (27.2 million streams, up 15%; 1,000 sold, up 19%, outside the U.S.).
The Billboard Global 200 and Billboard Global Excl. U.S. charts (dated Dec. 24, 2022) will update on Billboard.com tomorrow (Dec. 20). For both charts, the top 100 titles are available to all readers on Billboard.com, while the complete 200-title rankings are visible on Billboard Pro, Billboard‘s subscription-based service. For all chart news, you can follow @billboard and @billboardcharts on both Twitter and Instagram.
Luminate, the independent data provider to the Billboard charts, completes a thorough review of all data submissions used in compiling the weekly chart rankings. Luminate reviews and authenticates data. In partnership with Billboard, data deemed suspicious or unverifiable is removed, using established criteria, before final chart calculations are made and published.
Beginning with Debby Boone‘s 1977 smash “You Light Up My Life,” a relatively select few smashes have led the Billboard Hot 100 chart for at least 10 weeks. How few? Just a mere 4% of all Hot 100 No. 1s dating to the chart’s launch on Aug. 4, 1958, have earned the achievement.
In honor of the singles to claim the Hot 100’s top spot the longest, here’s a look at the elite leaders to rule for double-digit weeks, an exclusive club led by Lil Nas X’s “Old Town Road,” featuring Billy Cyrus, a 19-week No. 1 smash in 2019.
THE LONGEST-LEADING HOT 100 No. 1sWeeks at No. 1, Title, Artist, Date Reached No. 1
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19, “Old Town Road,” Lil Nas X feat. Billy Ray Cyrus, April 13, 2019
16, “Despacito,” Luis Fonsi & Daddy Yankee feat. Justin Bieber, May 27, 201716, “One Sweet Day,” Mariah Carey & Boyz II Men, Dec. 2, 1995
15, “As It Was,” Harry Styles, April 16, 2022
14, “Uptown Funk!,” Mark Ronson feat. Bruno Mars, Jan. 17, 201514, “I Gotta Feeling,” The Black Eyed Peas, July 11, 200914, “We Belong Together,” Mariah Carey, June 4, 200514, “Candle in the Wind 1997″/”Something About the Way You Look Tonight,” Elton John, Oct. 11, 199714, “Macarena (Bayside Boys Mix),” Los Del Rio, Aug. 3, 199614, “I’ll Make Love to You,” Boyz II Men, Aug. 27, 199414, “I Will Always Love You,” Whitney Houston, Nov. 28, 1992
13, “The Boy Is Mine,” Brandy & Monica, June 6, 199813, “End of the Road,” Boyz II Men, Aug. 15, 1992
12, “Shape of You,” Ed Sheeran, Jan. 28, 201712, “Closer,” The Chainsmokers feat. Halsey, Sept. 3, 201612, “See You Again,” Wiz Khalifa feat. Charlie Puth, April 25, 201512, “Blurred Lines,” Robin Thicke feat. T.I. + Pharrell, June 22, 201312, “Boom Boom Pow,” The Black Eyed Peas, April 18, 200912, “Yeah!,” Usher featuring Lil Jon & Ludacris, Feb. 28, 200412, “Lose Yourself,” Eminem, Nov. 9, 200212, “Smooth,” Santana feat. Rob Thomas, Oct. 23, 1999
11, “The Box,” Roddy Ricch, Jan. 18, 202011, “God’s Plan,” Drake, Feb. 3, 201811, “Independent Women Part I,” Destiny’s Child, Nov. 18, 200011, “I’ll Be Missing You,” Puff Daddy & Faith Evans feat. 112, June 14, 199711, “Un-Break My Heart,” Toni Braxton, Dec. 7, 199611, “I Swear,” All-4-One, May 21, 1994
10 (to-date), “All I Want for Christmas Is You,” Mariah Carey, Dec. 21, 201910, “Easy on Me,” Adele, Oct. 30, 202110, “Butter,” BTS, June 5, 202110, “In My Feelings,” Drake, July 21, 201810, “One Dance,” Drake feat. WizKid & Kyla, April 23, 201610, “Hello,” Adele, Nov. 14, 201510, “Happy,” Pharrell Williams, March 8, 201410, “We Found Love,” Rihanna feat. Calvin Harris, Nov. 12, 201110, “Low,” Flo Rida feat. T-Pain, Jan. 5, 200810, “Irreplaceable,” Beyoncé, Dec. 16, 200610, “Gold Digger,” Kanye West feat. Jamie Foxx, Sept. 17, 200510, “Dilemma,” Nelly feat. Kelly Rowland, Aug. 17, 200210, “Foolish,” Ashanti, April 20, 200210, “Maria Maria,” Santana feat. The Product G&B, April 8, 200010, “Physical,” Olivia Newton-John, Nov. 21, 198110, “You Light Up My Life,” Debby Boone, Oct. 15, 1977
Mariah Carey‘s “All I Want for Christmas Is You” tops the Billboard Hot 100 for a 10th week. With its latest frame at No. 1, Carey becomes the third artist – and first woman – with three songs that have reigned for double-digit weeks. Carey crowned the chart for 16 weeks with “One Sweet Day,” with Boyz II Men, in 1995-96, and for 14 weeks with “We Belong Together” in 2005. Boyz II Men and Drake are the only other acts to have achieved such a triumphant triple.
Plus, SZA launches two songs in the Hot 100’s top 10 – “Kill Bill,” at No. 3, and “Nobody Gets Me,” at No. 10 – both from her new album, SOS, which launches as her first No. 1 on the Billboard 200. She ups her count to seven career Hot 100 top 10s and, with the former arrival, ties her highest rank, establishes a new top placement as a lead act and makes her highest debut.
The Hot 100 blends all-genre U.S. streaming (official audio and official video), radio airplay and sales data. All charts (dated Dec. 24) will update on Billboard.com Tuesday (Dec. 20). For all chart news, you can follow @billboard and @billboardcharts on both Twitter and Instagram.
“Christmas,” on Columbia Records/Legacy Recordings, was first released on Carey’s album Merry Christmas in 1994 and, as streaming has grown and holiday music has become more prominent on streaming services’ playlists, it first reached the Hot 100’s top 10 in December 2017 and first hit the top five in the 2018 holiday season, before reigning over the holidays in 2019 (for three weeks), 2020 (two), 2021 (three) and now 2022 (two to-date).
Streams, airplay & sales: “Christmas” drew 41.4 million streams (up 14%) and 33.1 million radio airplay audience impressions (up 11%) and sold 11,000 downloads (up 86%) in the U.S. in the Dec. 9-15 tracking week, according to Luminate.
The song adds a third week at No. 1, up from No. 3, on the Digital Song Sales chart, following frames on top in 2005 and 2019; dips to No. 2 after 17 total weeks atop Streaming Songs; and rises 17-14 on Radio Songs, where it hit a No. 12 high over the 1994 holidays and has returned to the top 15 in each of the last four holiday seasons.
Third No. 1 of at 10 weeks or more: Carey becomes the third artist, and first woman, with three songs that have ruled the Hot 100 for 10 or more weeks. Here’s a recap of the elite three acts to have earned the honor – with Carey and Boyz II Men having teamed for one song below. Boyz II Men initiated the club in 1996 and Drake became its second member in 2018.
Mariah Carey:
16 weeks, “One Sweet Day,” with Boyz II Men, 1995-96
14 weeks, “We Belong Together,” 2005
10 weeks (to-date), “All I Want for Christmas Is You,” 2019-22
Drake:
10 weeks, “One Dance,” featuring WizKid & Kyla, 2016
11 weeks, “God’s Plan,” 2018
10 weeks, “In My Feelings,” 2018
Boyz II Men:
13 weeks, “End of the Road,” 1992
14 weeks, “I’ll Make Love to You,” 1994
16 weeks, “One Sweet Day,” with Carey, 1995-96
“Christmas” is the 43rd song to command the Hot 100 for 10 or more weeks, a feat that under just 4% of all 1,144 No. 1s have achieved. (Carey and Boyz II Men’s “One Sweet Day” solely held the record for the chart’s longest reign for over 21 years, until Luis Fonsi and Daddy Yankee’s “Despacito,” featuring Justin Bieber, matched it with 16 weeks on top in 2017. The songs now share the second-longest No. 1 stay, after Lil Nas X’s “Old Town Road,” featuring Billy Ray Cyrus, dominated for 19 weeks in 2019.)
No. 1 on both ‘Christmas’ Eve and Day: Among its 10 weeks at No. 1 on the Hot 100, Carey’s “Christmas” has led lists dated Dec. 24 (this year) and Dec. 25 (2021). It, fittingly, becomes the only song to have topped Hot 100 charts dated both Christmas Eve and Christmas Day.
Longest span atop the Hot 100: Carey’s “Christmas” extends the longest span from a song’s first week at No. 1 on the Hot 100 to its latest, to just over three years (Dec. 21, 2019-Dec. 24, 2022).
Plus, the latest week atop the Hot 100 for “Christmas” extends Carey’s record for the longest span of an artist ranking at No. 1 on the chart: 32 years and nearly five months, dating to her first week at No. 1 on the list dated Aug. 4, 1990, with her debut single “Vision of Love.”
Most weeks at No. 1 for a holiday hit: Carey’s “Christmas” expands its record for the most time atop the Hot 100 for a holiday song. The only other seasonal single to lead, “The Chipmunk Song,” by David Seville & the Chipmunks, spent four weeks at No. 1. (“‘The Chipmunk Song’ is one of the fastest breaking and fastest selling records of 1958,” Billboard reported when the song first reigned, in the Dec. 22, 1958, issue, adding that it had become the “biggest seller since ‘Hound Dog’,” first made a hit by Big Mama Thornton and then Elvis Presley. “Sales city by city [for “Chipmunk”] have been astounding and it has been blaring out of radios, juke boxes and loudspeaker systems from New York to Los Angeles every day for weeks.”)
Carey’s record 89th week atop Hot 100: With “Christmas,” Carey adds her record-extending 89th week at No. 1 on the Hot 100, dating to the chart’s Aug. 4, 1958, inception.
Most Weeks at No. 1 on Hot 100:
89, Mariah Carey
60, Rihanna
59, The Beatles
54, Drake
50, Boyz II Men
47, Usher
43, Beyoncé
37, Michael Jackson
34, Adele
34, Elton John
34, Bruno Mars
“Christmas” became Carey’s 19th Hot 100 No. 1, the most among soloists and one away from The Beatles’ overall record 20. It also made Carey the first artist to have ranked at No. 1 on the chart in four distinct decades, dating to her first week at the summit with “Vision of Love.” The song is additionally the only title to have led in four separate runs on the survey.
No. 1 on Holiday 100: “Christmas” concurrently crowns the multi-metric Holiday 100 chart for a 55th week, of the chart’s 60 total weeks since the list originated in 2011. It has topped the tally for 40 consecutive weeks, dating to the start of the 2015-16 holiday season, and rules as the top title on the Greatest of All Time Holiday 100 Songs chart.
Brenda Lee’s “Rockin’ Around the Christmas Tree,” originally released in 1958, keeps at its No. 2 Hot 100 high, with 40.9 million streams (up 19%), 26.7 million in radio airplay audience (up 2%) and 5,000 sold (up 4%).
SZA scores two debuts in the Hot 100’s top 10 – “Kill Bill,” at No. 3, and “Nobody Gets Me,” at No. 10 – both from her new album, SOS. Streaming drive the bulk of both tracks, which begin with 36.9 million and 25.1 million streams, respectively.
“Kill Bill” debuts at No. 1 on Streaming Songs, where it’s SZA’s first leader, and “Nobody Gets Me,” at No. 6. (While the former’s sum of raw streams is the week’s fourth-highest, the song tops the chart due to the application of weighting to all titles’ paid/subscription and ad-supported on-demand streams and programmed/radio streams.)
SZA ups her career total to seven Hot 100 top 10s and, with the entrance of “Kill Bill,” ties her highest rank, establishes a new highest placement as a lead act and makes her strongest debut. Her previous top 10s: as featured on Maroon 5’s “What Lovers Do” (No. 9, November 2017); with “All the Stars,” with Kendrick Lamar (No. 7, March 2018), and “Good Days” (No. 9, February 2021); as featured on Doja Cat’s “Kiss Me More” (No. 3, July 2021); and with “I Hate U” (No. 7, December 2021). (SZA previously debuted at a No. 7 best with both “Kiss Me More” and “I Hate U.”)
Concurrently, “Kill Bill” begins at No. 1 on Hot R&B/Hip-Hop Songs and Hot R&B Songs, which use the same methodology as the Hot 100. SZA earns her third leader on the latter list, following “I Hate U” and “The Weekend” (in 2018), and her second No. 1 on the former, after “I Hate U.”
The late Bobby Helms’ “Jingle Bell Rock,” from 1957, drops 3-4 on the Hot 100 and the late Burl Ives’ “A Holly Jolly Christmas,” from 1964, backtracks 4-5, each slipping a spot from their respective highs reached in each of the last four holiday seasons.
Wham!’s “Last Christmas” hits a new best Hot 100 rank, jingling 9-6, after the 1984 release first reached the top 10 during the 2020 holidays and hit a prior No. 7 high last holiday season. It ascends with 28.9 million streams (up 15%), 23 million in radio reach (up 2%) and 3,000 sold (up 7%).
Taylor Swift’s “Anti-Hero” retreats 6-7 after spending its first six weeks on the Hot 100 at No. 1 starting in November. It concurrently ascends to the top of the Pop Airplay chart, where it’s Swift’s 10th leader and first since “Delicate” in 2018. “Anti-Hero” leads Adult Pop Airplay, where it’s her ninth No. 1, for a fourth week. On Radio Songs, it holds at its No. 2 high (77 million, up 3%).
Andy Williams’ 1963 carol “It’s the Most Wonderful Time of the Year” rebounds 11-8 on the Hot 100; it hit a No. 5 high in the 2020 holiday season. The song’s latest week in the top 10 extends the late crooner’s record for the longest span of an act appearing in the tier to 63 years, two months and two weeks, dating to his first week in the top 10 with “Lonely Street,” on the chart dated Oct. 12, 1959.
Elsewhere in the Hot 100’s top 10, Sam Smith and Kim Petras’ “Unholy” slides 7-9, after it topped the Oct. 29-dated chart, as it rules Radio Songs for a fifth week (78.3 million, essentially even week-over-week).
Again, for all chart news, you can follow @billboard and @billboardcharts on both Twitter and Instagram and all charts (dated Dec. 24), including the Hot 100 in its entirety, will refresh on Billboard.com tomorrow (Dec. 20).
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.
SZA earns her first No. 1 album on the Billboard 200 chart (dated Dec. 24) as SOS starts atop the list with one of the biggest debuts of 2022. The set launches with 318,000 equivalent album units earned in the U.S. in the week ending Dec. 15, according to Luminate – largely driven by streaming activity. That start marks the fifth-largest debut of the year and SZA’s biggest week ever.
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SOS also garners the biggest streaming week ever for an R&B album, and the third-largest of 2022 among all albums.
Also in the top 10, A Boogie Wit Da Hoodie captures his fourth top 10-charting effort, as Me vs. Myself debuts at No. 6.
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 Dec. 24, 2022-dated chart will be posted in full on Billboard‘s website on Dec. 20. For all chart news, follow @billboard and @billboardcharts on both Twitter and Instagram.
Of SOS’ 318,000 equivalent album units earned, SEA units comprise 309,500 (equaling 404.58 million on-demand official streams of the set’s tracks), album sales comprise 7,500 and TEA units comprise 1,000.
With a total start of 318,000 equivalent album units, SOS logs the fifth-biggest debut of 2022, following the opening weeks of Taylor Swift’s Midnights (1.578 million), Harry Styles’ Harry’s House (521,000), Drake and 21 Savage’s Her Loss (404,000) and Beyoncé’s Renaissance (332,000).
Further, as SOS generated 404.58 million official on-demand streams for its 23 songs, the set registers the biggest streaming week ever for an R&B album, the second-largest streaming week ever for an album by a female artist, and the third-largest streaming week of 2022 for any album. (R&B albums are defined as those that have hit Billboard’s Top R&B Albums chart.)
Among all R&B sets, SOS passes the streaming debut of Drake’s Honestly, Nevermind (250.23 million) for the top weekly total ever. The only larger streaming week ever registered by a woman was notched by Swift’s Midnights (549.26 million). And, the only bigger streaming weeks overall in 2022 were tallied by the debuts of Midnights and Her Loss (513.56 million).
SOS is SZA’s second studio album and comes more than five years after the June 2017 release of her smash Ctrl project. It debuted and peaked at No. 3 on the Billboard 200, has earned 3.9 million equivalent album units and has yet to leave the weekly Billboard 200 after 288 consecutive weeks (it climbs 35-28 on the new chart). Ctrl contains a trio of Billboard Hot 100-charting hits in “Love Galore,” “The Weekend” and “Broken Clocks.” Before SOS’ release, Ctrl had amassed 5.1 billion official on-demand streams for its songs in the U.S.
Though fans waited a long time between albums from SZA, she kept very busy releasing hit singles and collaborative tracks. Since Ctrl’s release (but before SOS’ bow) SZA charted 15 further songs on the Hot 100, including five top 10s: “What Lovers Do,” billed to Maroon 5 featuring SZA; “All the Stars,” a co-lead collaboration with Kendrick Lamar; “Good Days;” “Kiss Me More,” billed to Doja Cat featuring SZA; and “I Hate U.”
SOS, which contains 23 songs, includes three tracks that were released prior to the album’s arrival: “Good Days” (released in late 2020), “I Hate U” (released in late 2021) and “Shirt” (released in October of 2022). Those three tracks collectively garnered 980 million official on-demand streams in the U.S. before SOS’ release.
SOS was released on Dec. 9 via Top Dawg/RCA Records. It gives RCA its first No. 1 on the Billboard 200 since Tool’s Fear Inoculum (released via Tool Dissectional/Volcano/RCA) debuted at No. 1 on the Sept. 14, 2019-dated chart. SOS is the seventh No. 1 for Top Dawg, following four leaders from Kendrick Lamar (Mr. Morale & The Big Steppers in 2022, DAMN. in 2017, untitled unmastered. in 2016 and To Pimp a Butterfly in 2015; all were released via Top Dawg/Aftermath/Interscope Records, except Mr. Morale (pgLang/Top Dawg/Aftermath/Interscope), Black Panther: The Album in 2018 (Top Dawg/Aftermath/Interscope), and ScHoolboy Q’s Oxymoron in 2014 (Top Dawg/Interscope).
Four former No. 1s follow SOS on the latest Billboard 200, as Midnights is a non-mover at No. 2 (139,000 equivalent album units; down 3%), Metro Boomin’s Heroes & Villains falls 1-3 in its second week after debuting atop the list (102,000; down 45%), Her Loss dips 3-4 (67,000; down 15%) and Michael Bublé’s Christmas is steady at No. 5 (62,000; up 14%).
A Boogie Wit da Hoodie captures his fourth top 10-charting album on the Billboard 200 as Me vs. Myself debuts at No. 6 with 53,000 equivalent album units earned. Of that sum, SEA units comprise 50,000 (equaling 66.92 million on-demand official streams of the set’s songs), album sales comprise 3,000 and TEA units comprise a negligible. The rapper previously visited the top 10 with Artist 2.0 (No. 2 in 2020), Hoodie SZN (No. 1, 2019) and The Bigger Artist (No. 4, 2017).
Bad Bunny’s former No. 1 Un Verano Sin Ti falls 4-7 on the Billboard 200 with 51,000 equivalent album units earned (down 7%), Nat King Cole’s The Christmas Song climbs 9-8 with just over 47,000 (up 17%), Vince Guaraldi Trio’s A Charlie Brown Christmas soundtrack rises 12-9 nearly 47,000 (up 19%) and Morgan Wallen’s chart-topping Dangerous: The Double Album falls 7-10 with 45,000 (down 3%).
Dangerous: The Double Album has now accumulated 100 nonconsecutive weeks in the top 10 on the Billboard 200. It continues to have the fifth-most weeks in the top 10 among all albums since the chart began publishing on a regular, weekly basis in March of 1956 – and the most for an album by a single artist.. The all-time top 10 record-holder is the original cast recording of My Fair Lady, with 173 weeks in the top 10 between 1956-60. See list, beow.
Albums With Most Weeks in Top 10 on Billboard 200 Chart (March 24, 1956-onwards)Weeks in Top 10, Artist, Title, Year First Reached Top 10173, Original Cast, My Fair Lady, 1956109, Soundtrack, The Sound of Music, 1965106, Soundtrack, West Side Story, 1962105, Original Cast, The Sound of Music, 1960100, Morgan Wallen, Dangerous: The Double Album, 202190, Soundtrack, South Pacific, 195887, Original Cast, Camelot, 196187, Soundtrack, Oklahoma!, 195685, Peter, Paul and Mary, Peter Paul and Mary, 196284, Adele, 21, 201184, Bruce Springsteen, Born in the U.S.A., 1984(through the Dec. 24, 2022-dated chart)
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.
Manuel Turizo adds a 13th week at No. 1 on the Billboard Argentina Hot 100 chart (dated Dec. 10). It’s the longest command in 2022, plus, it ties with “Otro Trago” by Sech, Darell, Nicky Jam, Ozuna and Anuel AA for the third-most week atop the tally since the chart’s inception in 2018. Here’s a look at the longest domination:
25 weeks, “Tusa,” Karol G & Nicki Minaj16 weeks, “Entre Nosotros,” Tiago pzk, Lit Killah, Nicki Nicole & Maria Becerra13 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
Bizarrap and Quevedo’s “Bzrp Music Sessions, Vol. 52” takes the runner-up slot and sends Rosalía’s “Despechá” to No. 3. Meanwhile, La Joaqui, Gusty DJ Salsatkbron’s “Dos Besitos” trades places with Rei and Callejero Fino’s “Tu Turrito” as the former rises 5-4 while the latter lifts 7-5.
Further, the week’s Hot Shot Debut goes to Arcangel and Bad Bunny’s “La Jumpa” as the song arrives at No. 42. The tune is part of Arcangel’s sixth studio album Sr. Santos which debuted at No. 3 on Billboard’s Top Latin Albums chart.
Elsewhere, La Joaqui’s “Mañosa” takes the Greatest Gainer honors as the song rallies from No. 92 to No. 54.
Plus, Argentinian La Mosca Tse-Tse scores its first entry with “Muchachos, Ahora Nos Volvimos a Ilusionar” at No. 55. One rank below, Rusherking, Emilia and L-Gante’s “El Plan” bows at No. 56. Meanwhile, Arcangel concurrently scores a new entry as “Valtteri Bottas,” with Duki and Bizarrap debuts, at No. 80.
Lastly, Argentinian singer-songwriter BM secures his first entry claims with “M.A (Mejores Amigos)” at No. 94.
For the sixth year in a row, Grey’s Anatomy is the top TV show for music synchs on TV, according to Tunefind.
Tunefind has revealed its year-end top shows, movies, songs and artists for onscreen music synchs in 2022, and the long-running ABC drama again tops the list.
The music discovery website Tunefind’s year-end rankings are based only on traffic and interaction on its website, which helps fans identify what song they heard in a TV show or film. Tunefind’s year-end charts are separate from the monthly Top TV Songs chart, presented with Billboard. The monthly Top TV Songs chart ranks the top songs that appear in TV shows each month, using a combination of metrics from Tunefind and Luminate.
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Grey’s Anatomy appeared on the monthly Top TV Songs list multiple times throughout the year, and a pair of songs featured during its 18th season also appear on Tunefind’s year-end songs ranking: Tommee Proffitt and Fleurie’s “Chasing Cars” and Davis Naish’s “The Story,” both heard in the season finale, which aired May 26. Proffitt and Fleurie’s entry is a cover of Snow Patrol’s 2006 original (which peaked at No. 5 on the Billboard Hot 100), while Naish covered Brandi Carlile’s “The Story” (No. 75, 2007).
Euphoria rockets onto the shows list at No. 2, and one of the songs heard in the HBO series’ second season ranks atop the songs survey: “I’m Tired,” from Labrinth and show star Zendaya. After initially being heard in the fourth episode of the season (Jan. 30), the song eventually reached multiple Billboard charts upon its wide release, including No. 53 on the Hot 100 dated March 19.
Euphoria ultimately boasts five songs on the year-end songs ranking, with “I’m Tired” followed by Sinead O’Connor’s “Drink Before the War” (No. 4), Orville Peck’s “Dead of Night” (No. 7), James Blake and Labrinth’s “(Pick Me Up) Euphoria” (No. 8) and Laura Les’ “Haunted” (No. 9).
Speaking of Labrinth, he takes the cake as the top artist of the year, and Jeff Russo claims top composer honors.
Meanwhile, the top new show is Power Book IV: Force, a continuation of the Starz series that premiered in February, followed by HBO Max’s Peacemaker. And Hulu’s Fresh is named top movie, boasting a soundtrack that includes Blood Orange, Karen O, Danger Mouse, Duran Duran, Peter Cetera and more.
See each of the year-end rankings below.
Top Songs
“I’m Tired,” Labrinth & Zendaya, Euphoria
“Untitled,” Killer Mike, Ozark
“Separate Ways (Worlds Apart) (Bryce Miller/Alloy Tracks Remix),” Journey, Stranger Things
“Drink Before the War,” Sinead O’Connor, Euphoria
“Chasing Cars,” Tommee Proffitt & Fleurie, Grey’s Anatomy
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Stephen Sanchez is infatuated with love — but he’s not interested in approaching it from a 21st century lens. “I think it’s a lost art to tell somebody that you’d pull the moon down for them,” he tells Billboard. Growing up listening to ’50s and ’60s records on vinyl in Northern California, he has always been drawn to an old-school charm within his own music. The inspiration ultimately led to his breakthrough hit, “Until I Found You,” which became his first Billboard Hot 100 hit and has remained on the chart for months.
Penned in May 2021, just six months after moving to Nashville, Sanchez felt there was something special about the heartfelt song straight away — and another six months after its release that September, it debuted on the all-genre songs chart at No. 100. Since, it has spent 23 weeks on the list, reaching a No. 38 high this October, and continues to climb elsewhere, hitting a new No. 3 peak on Billboard‘s Hot Rock & Alternative Songs chart dated Dec. 17.
Despite being more than a year old at this point, the timeless-sounding pop hit has experienced one resurgence after the next, be it through an Em Beihold version of the track that arrived this April, on TikTok or radio airplay. But even as the song still reaches new listeners, the 20-year-old isn’t slowing his output: in August, he released EP Easy On My Eyes; in November, “Missing You,” with Ashe, arrived; and in 2023, he’ll kick off the year with a new single, followed by his first headline tour and then a debut record that’ll come in the summer.
Below, Sanchez reflects on “Until I Found You,” teases an impending sonic shift in his music, discusses why he wants to “flirt with the audience” during his live shows and more.
Where did the inspiration for “Until I Found You” come from?
I was in a serious relationship at the time. There was a lot of back-and-forth toward the beginning because I was super fearful of it, and I pushed her away because of that. We had established a very solid friendship before then, and it isolated us from even having that. I moved to Nashville months later, we reconnected and I took her out on a date. The song is just reflecting that time: When I was without her friendship and loving, it was so hard. I just remember how shallow that time felt in my life. [When] I wrote the song, we were very much in love, and it made that moment of our lives more beautiful.
[With regard to its sonic inspiration], I grew up on ’50s music. My grandpa has this amazing property in San Jose, California, and there are two barns on either side and the house sat right in the middle. It’s on top of this hill, and you can oversee all of San Jose. In the mornings, they would make me breakfast, and then they would tell me to go out in the barn and pick through vinyl. My grandpa is 85 years old at this point, so the only records he has are records from the ‘50s and ‘60s. I would pick through vinyl and just get inspired. Even now, I still do that every time I go up there.
Was there a specific moment that you knew you had a hit on your hands?
I don’t think I ever thought that a song of mine would do this well and throw me in the position to be in the shoes of my heroes. However, on the other side of that, I think the moment when I felt like I had something that was really special … I was making very poor financial decisions when I realized it. I went to Carter Vintage [Guitars] in Nashville, and I bought this old Rickenbacker and old amp, and I wrote the song on that — I [already] had the first part, and then I finished the rest of it on that. That’s what gave it that ‘50s and ‘60s sound. I was playing around with other ‘50s covers — like Paul Anka and The Penguins — and then that song popped out. It felt like it was pulling from my roots in a very huge way.
How much tinkering was there between your initial vision and the finished product?
I think the main thing I couldn’t get over [was] how much reverb was being used. There are small, petty things that I always get caught up on within every song we’ve ever released, and I feel like that’ll be true to me for the rest of my life. It took a day or two to record the whole song and get it done, and then Georgia, whom the song is about, came in and sang on the song. It made it even more special — it’s a very amazing immortalized moment in life right there.
You’ve mentioned the song’s old-school charm. Was creating that more of a concerted effort or a happy coincidence given what you were listening to at the time?
I think it was just a happy coincidence. I really just love that music so much. As far as artistry goes, I think I’ve always fallen into the category where I feel extraordinarily safe picking up a guitar and hiding behind that and adept lyricism and all that stuff. That music makes life fun. It makes love fun. It makes it really emotional. I think it’s a lost art to tell somebody that you’d pull the moon down for them. For that to fall out in such a natural way, that feels very special, and this year, I’m chasing that — but also not trying to force it at all.
It definitely takes a specific tact to write a song that adequately captures all of the emotions that get wrapped into love.
Yeah, I think artists need to flirt with their lyrics more. Your audience at a show is essentially someone that you’re trying to win over. They’re the muse, and you’re flirting with them for an hour, trying to convince them to go out on a date with you. And the same way with a song, right? We should be flirting with our lyricism. We should be slow-dancing with it. We should be taking it out to dinner — metaphorically, of course. But just enticing it into this deep romance within ourselves, that way we’re not losing sight of true artistry. I think that it’s easy to jump on TikTok and sing a song for 30 seconds. But where’s the flirting? That’s a one-night stand. Where’s the meat of it?
Is there a standout experience from the song’s success that really resonates with you?
We played [Late Night with] Seth Meyers and my manager was there. My best friends were there with me. We showed up that day, and I almost threw up because I was so nervous. We got out there, and he was saying my name and we sang the song. And then we jumped on a plane and flew right back to Nashville and made it in time [to watch the performance on TV]. All of my friends were in my little 500 square foot apartment, and they were all crammed in my living room. We were all just cheering and screaming at, like, 12 a.m. It was so beautiful.
What about the song lends itself to being such a long-lasting hit?
Gosh, I just feel like it just won’t stop. (Laughs.) Every time there’ll be a time where it simmers down, I’m like, “Cool. That was a great run. Let’s release some more great music.” And then it’ll just pick right back up, and I get texts like, “It’s going off again!” I’m like, “Why? Why is it going off again?” The only comparison that I can give is that I have this old car, and sometimes it’ll start right up, and it’ll be amazing. And then sometimes, I’ll park it back in the garage, and the next day, it won’t start at all. I’m like, “Okay, cool. Maybe tomorrow!” It’s the same with this: it’s very exciting. It’s a beautiful thing, and I’m really glad that it was this song, honestly. If it could’ve been any of [my songs], I love that it’s this one because it is very much my roots. I just love that it’s under Mercury Records, which was an old-school label, and they released old-school music, and this is an old-school song. That’s just so cool.
How has the process of creating and releasing music been impacted by having a label behind you?
It has just given me this immense state of peace. I think that Mercury is an amazing label because it’s run by people that I have real relationships with and that truly believe in me. It’s also an extension to a label [Republic Records] that believes in me. They put their entire being into artists’ projects and it just opens up this space that feels very safe and welcoming to an artist. As far as Mercury and Republic goes, they care about maintaining the integrity of their artists’ music. I truly believe I wouldn’t be able to do that with anyone else.
As you were putting together your debut EP, Easy On My Eyes, were there any core messages or concepts about you as an artist that you wanted to get across to listeners?
Sonically, I wanted it to feel very close. It felt very tender and sensitive within the singing and how we mixed it, but [there’s] also a little bit of lightheartedness in the sense that, when love feels very joyful, you feel that. I did want to feel that differentiating, rollercoaster vibe of sonics and thematics going on, but the whole thing is about love, of course — its beauty, its downfall and its kind of weird in-betweens. That’s a consistent human experience. Whatever your perception is of the circumstance you’re living in, whether it be love or lust, I want this record to feel accessible.
You recently announced your first headline tour, which will kick off in early 2023. What can we expect for that?
Having strangers that I don’t know come out and pay money for these shows … to play in front of them is going to be so exhilarating. I’m excited to dance. I used to go to concerts when I was younger, and the consistent thing I would imagine was feeling the music from the audience, but imagining that I was moving to it on stage. To get to do that for real now is so exciting. I want to make it so that there’s a dance with the audience that’s happening, in the same way that I was saying earlier with the songwriting. Bring them into a feeling. That’s the goal: have fun and flirt with the audience as much as I can.
Is there anything else we should be on the lookout for?
Man, we got a brand new bag coming. It’s going to be really great. We’re releasing a debut record, and it’s going to come out in the summer, and I don’t want to spoil much about it. But we have a new single coming out in January. I don’t want to spoil that, either, but it’s going to be an entire sound change. The whole thing has taken a flip. We’re not doing singer-songwriter, acoustic stuff anymore. We’re hanging up the guitar and swapping it out for a mic.
A version of this story originally appeared in the Dec. 10, 2022, issue of Billboard.
The queen of Christmas is crowned on Australia’s chart, while SZA makes her presence felt on both main surveys with her sophomore album and several singles from it.
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Nothing can top Mariah Carey’s “All I Want For Christmas Is You” (via Columbia/Sony) at this time of year. The 1994 holiday classic lifts 3-1 on the ARIA Singles Chart, published Dec. 16, ahead of former leaders “Unholy” (Capitol/Universal), by Sam Smith & Kim Petras; and “Anti-Hero” (Universal) by Taylor Swift, respectively.
Carey’s seasonal number finally cracked the summit in 2018. It has returned there each December, like clockwork.
SZA’s long-anticipated second album SOS (RCA/Sony) has been well-received by Aussie fans, as album track “Kill Bill” bows at No. 5 on the singles survey, “Nobody Gets Me” arrives at No. 16, “Blind” drops at No. 27, “Low” appears at No. 34, and “Seek and Destroy” starts at No. 38.
Indeed, the U.S. R&B singer is responsible for the only tracks to debut in the top 40 on the latest cycle.
It’s that most wonderful time of the year, again, and Christmas is the big story on the ARIA Singles Chart, where perennial hits by Wham (“Last Christmas” up 11-6 via RCA/Sony) and Michael Buble (“It’s Beginning To Look A Lot Like Christmas” up 13-11 via Reprise/Warner), Brenda Lee (“Rockin’ Around the Christmas Tree” up 15-12 via Universal), Ariana Grande (“Santa Tell Me” up 17-15 via Universal) and Bobby Helms (“Jingle Bell Rock” up 21-19 via Universal) climb the top 20.
SZA’s SOS, meanwhile, enjoys the highest debut on the ARIA Albums Chart at No. 2, behind Swift’s long-reigning Midnights.
The top five on the albums list is rounded out by Songs of Disappearance – Australian Frog Calls (MGM), which stays put at No. 3, and respective former best-sellers from Jimmy Barnes (Blue Christmas via Liberation/Universal) and Harry Styles (Harry’s House via Columbia/Sony).
Finally, Coterie makes a splash with their self-titled debut LP. The four-piece Australian-New Zealand band blasts in at No. 13 on the ARIA Albums Chart with Coterie (Sony), one of just two new releases to crack the top 50, after SZA’s latest LP.
The combined might of Tyga, Jhene Aiko and the late Pop Smoke yields a new No. 1 on Billboard’s Rhythmic Airplay chart with their collaboration, “Sunshine.” The song jumps from No. 4 to lead the list dated Dec. 17 after a 7% jump in weekly plays that made it the most-played song on U.S. monitored rhythmic radio stations in the week ending Dec. 11, according to Luminate.
“Sunshine” gives Tyga his fifth Rhythmic Airplay No. 1, and first time with multiple champs in the same calendar year. The rapper first led through a featured spot on Chris Brown’s “Loyal” (two weeks, 2014), his own “Taste,” featuring Offset (four, 2018), “Chosen,” with Blxst and featuring Ty Dolla $ign (three, 2021) and “Freaky Deaky,” with Doja Cat (one, 2022).
Jhene Aiko collects her fourth career champ. All three of her previous chart-toppers, a guest turn alongside Chris Brown on Omarion’s “Post to Be” in 2015, her own “B.S.” featuring H.E.R. and another supporting spot on Saweetie’s “Back to the Streets” in 2021, all ruled for one week.
The late Pop Smoke, meanwhile, extends his Rhythmic Airplay history to a third No. 1 and third consecutive year with a leading title. He first reigned with “For the Night,” featuring Lil Baby and DaBaby, for five weeks in 2020-21, and returned to the summit with the four-week champ “What You Know Bout Love” in 2021. The latter wrapped 2021 as the Rhythmic Airplay’s top title on the year-end ranking.
“Sunshine” also brings a former 18-year-old champ back into the fray through its sample. The Tyga, Aiko and Pop Smoke track samples the Lil Flip and Lea collaboration of the same name, which topped the Rhythmic Airplay list for one week and reached No. 2 on the Billboard Hot 100 in 2004.
As “Sunshine” lights up Rhythmic Airplay, it continues a parade of new No. 1s on the chart. The song is the fifth new leader in the last five weeks, following the one-week reigns, in order, of Doja Cat’s “Vegas,” YG’s “Toxic,” Chris Brown’s “Under the Influence,” and Beyoncé’s “Cuff It.” The last multi-week champ was Nicki Minaj’s “Super Freaky Girl,” which strung together a three-week nonconsecutive run on top in October-November. Between Minaj’s second and third weeks in charge, two more songs managed single-week stays at No. 1: DJ Khaled’s “Staying Alive,” featuring Drake and Lil Baby, and Steve Lacy’s “Bad Habit.”
The current turnover is the most since a run of six straight new No. 1s in five weeks in June – July 2019. Then, Khalid’s “Talk” started a procession that included City Girls’ “Act Up,” Travis Scott’s “Wake Up,” Lil Baby’s “Close Friends,” Lizzo’s “Truth Hurts” and Chris Brown’s “No Guidance,” featuring Drake. The lattermost title broke the streak with a second consecutive week on top. (“Truth Hurts” later also returned to the summit for an additional two weeks.)
Elsewhere, “Sunshine” pushes 8-5 on the Rap Airplay chart with a 3% increase in weekly audience and repeats at No. 22 on the Mainstream R&B/Hip-Hop Airplay list through a 3% boost in weekly plays at the format. Thanks to those placements and its rhythmic success, the song debuts at No. 45 on the all-genre Radio Songs chart. There, it climbed 11% to 18.9 million in overall audience.
Fred Again.. (aka, Fred Gibson) debuts at No. 10 on Billboard‘s Top Dance/Electronic Albums chart (dated Dec. 17) with Actual Life (April 14 – December 2020). The set starts with 2,600 equivalent album units, including 2,000 from album sales, Dec. 2-8, according to Luminate.
The pandemic-themed set, originally released in April 2021, hits the chart following its Dec. 2 arrival on vinyl. It’s Fred Again..’s second entry and top 10, after a later release in the series, Actual Life 3 (January 1 – September 9 2020) (No. 3, November).
Actual Life 3 spurred five hits on the multi-metric Hot Dance/Electronic Songs chart, including the top 20 achiever “Clara (The Night Is Dark)” (No. 18, Nov. 12). Overall, Fred Again.. owns 12 charted titles, including most recent single “Strong,” with Romy (No. 27, Dec. 3), and “Turn On the Lights Again..,” with Swedish House Mafia and featuring Future (No. 16, Aug. 13).
Speaking of Hot Dance/Electronic Songs, INTERWORLD earns its first Billboard top 10 with “Metamorphosis” (11-10). The track, whose profile has surged thanks to TikTok, earned 2.4 million U.S. streams, up 8%.
Jengi (Dutch producer Jan Berendsen) jets to his initial Billboard chart appearances with “Bel Mercy.” The track, at No. 40 on Hot Dance/Electronic Songs, collected 278,000 domestic streams and sold 600 downloads. With the latter figure, Jengi also jumps in at No. 5 on the Dance/Electronic Digital Song Sales chart.
Continuing with Billboard firsts, but shifting to the Dance/Mix Show Airplay chart, Lena Leon spins to her inaugural top 10 with “Spiral” (12-7). The song is drawing core-dance airplay on SiriusXM’s BPM, Music Choice’s Dance/EDM channel and iHeartRadio’s Evolution, among other outlets. (The Dance/Mix Show Airplay chart measures radio airplay on a select group of full-time dance stations, along with plays during mix shows on around 70 top 40-formatted reporters.)
“‘Spiral’ was written with my friends Andrew Tyler, Flo August and the Disco Fries about a panic attack I had in my own house during the pandemic,” Leon tells Billboard. “It’s one of the most personal things I’ve ever written, and I decided to release it myself after feeling like there wasn’t enough female representation in dance music. I never expected this kind of reaction in a million years and I’m so grateful this one is resonating with so many.”
Additionally on the Dance/Mix Show Airplay chart, Tiësto travels into the top 10 with “10:35,” featuring Tate McRae (14-9). It’s Tiësto’s 17th top 10 (and McRae’s third), tying him with Kaskade for the fifth-most top 10s since the chart began in August 2003. The twosome trails only David Guetta (34), Rihanna (24), Calvin Harris (20) and Justin Bieber (20).