Chart Beat
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Miley Cyrus’ “Flowers” (via Columbia) is showing staying power in the U.K., where it’s on track for a fourth consecutive week at No. 1.
“Flowers” leads the midweek chart, and is already Cyrus’ longest-reigning U.K. No. 1, eclipsing “We Can’t Stop” and “Wrecking Ball,” which both spent a single week at the chart summit in 2013.
Also on the Official Chart Update, Miguel’s “Sure Thing” continues to climb, thanks to the viral impact of TikTok. Originally released back in 2010, “Sure Thing” (Jive) is set for its first appearance in the top 5, up 7-5 on the U.K. chart blast.
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Meanwhile, Dutch DJ and EDM producer Tiësto and Canadian singer Tate McRae’s “10:35” (Atlantic/Ministry of Sound) is on the verge of a top 10 breakthrough, lifting 13-9 on the midweek survey.
Also noteworthy is Mimi Webb’s “Red Flags.” which is on the way up following the British singer and songwriter’s appearance on BBC’s The Graham Norton Show. “Red Flags” is set to improve 19-12, a new peak less than a month prior to the release of her debut album, Amelia, on March 3.
Finally, Coi Leray’s catchy “Players” (Uptown/Republic Records) makes a midweek move, up 20-12; while The Kid LAROI’s new single “Love Again” continues to climb. The second taste from the Sydney singer and rapper’s debut album The First Time, “Love Again” (Columbia) looks set to improve 22-17.
All will be revealed when the Official U.K. Singles Chart is published late Friday.
Shania Twain’s Queen Of Me (via EMI) is all set to be crowned on the U.K. albums chart.
The iconic Canadian country star lead the midweek chart with Queen, her sixth studio album and just her second across two decades.
It if holds its course, Queen of Me will become Twain’s third U.K. chart leader following Come On Over (1998) and Now (2017), her last studio album.
According to the Official Charts Company, Raye is “hot on Shania’s heels” with My 21st Century Blues (Human Re Sources), the British singer and songwriter’s debut LP. Blues features the U.K. No. 1 hit “Escapism,” featuring 070 Shake.
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Indie rock trio Young Fathers is on track to complete the podium with Heavy Heavy (Ninja Tune), their fourth studio album. It’s new at No. 3 on the Official Chart Update, for what would be a career-best for the Scots, and an all-new top three.
Based on midweek data, Sam Smith’s Grammy Award-winning fourth album Gloria (Capitol) will be bumped from the summit after one week, tumbling 1-11.
Further down the list, The Waeve look to make a splash with their eponymously titled debut, via Transgressive. Formed by Blur guitarist and singer Graham Coxon and former the Pipettes singer Rose Elinor Dougall, the Waeve’s debut is set to debut at No. 5 on the Official U.K. Chart. As a member of Blur, the OCC reports, Graham has 10 U.K. top 40 albums under his belt. He also contributed to Duran Duran’s Future Past, which opened and peaked at No. 3 in 2021.
Finally, Beyonce is on the bounce following the announcement of a U.K. leg to her Renaissance World Tour. The U.S. superstar singer’s Renaissance (Columbia/Parkwood Ent) album could return to the top 20, at No. 19, following news of her U.K. stadium run, set for in May and June 2023.
All will be revealed when the Official U.K. Albums Chart is revealed late Friday.
All Time Low reaches No. 1 on Billboard’s Alternative Airplay chart for the second time, as “Sleepwalking” rises to the top of the Feb. 11-dated survey.
“Sleepwalking” follows the 18-week reign of the act’s “Monsters,” featuring blackbear, in 2020-21. It stands as the third longest-leading hit in the chart’s 34-year history, alongside Foo Fighters’ “The Pretender” and behind only Portugal. The Man’s “Feel It Still” (20 weeks) and Muse’s “Madness” (19). Its overall 88-week stay is the longest in the chart’s archives.
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In between “Monsters” and “Sleepwalking,” All Time Low earned an additional top five hit with “Once in a Lifetime,” which peaked at No. 5 in 2021.
Concurrently, “Sleepwalking” bullets at its No. 5 high on the all-rock-format, audience-based Rock & Alternative Airplay tally with 3.6 million audience impressions, up 1%, Jan. 27-Feb. 2, according to Luminate.
On the most recently published multimetric Hot Rock & Alternative Songs chart (dated Feb. 4), “Sleepwalking” ranks at No. 48, after reaching No. 45, with 1.1 million official U.S. streams, in addition to its radio audience.
“Sleepwalking” is the lead single from Tell Me I’m Alive, All Time Low’s ninth studio album, due March 17.
Originally released in late 2016 on The Weeknd’s album Starboy, his track “Die for You” rises to No. 1 at last on Billboard’s all-format Radio Songs chart, as well as the mainstream top 40-based Pop Airplay chart (both dated Feb. 11).
The song, on XO/Republic Records, gained by 5% to 85.2 million airplay audience impressions in the Jan. 27-Feb. 2 tracking week, according to Luminate.
As previously reported, the song rebounds to its No. 6 high on the all-genre, multimetric Billboard Hot 100.
The Weeknd adds his fifth Radio Songs No. 1, following “Earned It (Fifty Shades of Grey)” (for four weeks), “Can’t Feel My Face” (seven) and “The Hills” (five), all in 2015, and “Blinding Lights,” which dominated for a record 26 weeks in April-October 2020.
On Pop Airplay, The Weeknd likewise lands his fifth leader, with “Die for You” following “Earned It” (one week), “Can’t Feel My Face” (four weeks), “Blinding Lights” (six) and “Save Your Tears” (four, 2021).
“Die for You” completes the longest journey from a title’s release to its coronation on Radio Songs since the chart began in 1990. It tops the tally over six years after its arrival on Starboy, sparked by a surge of interaction on TikTok in recent months, which led Republic to officially promote it to radio.
Since Starboy, which became The Weeknd’s second of four No. 1 albums on the Billboard 200 chart, where it ruled for five weeks beginning in December 2016, he has tallied four more top 10s: EP My Dear Melancholy, (No. 1 for one week in April 2018); After Hours (No. 1, four weeks, April 2020); best-of collection The Highlights (No. 2, February 2021) and Dawn FM (No. 2, January 2022).
The lattermost set generated the singles “Take My Breath,” which hit No. 8 on Pop Airplay and No. 10 on Radio Songs, and “Sacrifice,” which followed and reached Nos. 13 and 24 on the charts, respectively.
“I think Dawn FM is a great album, but I think the bigger success of ‘Die for You’ as opposed to ‘Take My Breath’ or ‘Sacrifice’ comes down to timing,” says Matt Mony, program director of Pop Airplay reporter WYOY Jackson, Miss. “‘Blinding Lights’ was such a massive record that I think it heavily overshadowed anything from Dawn FM. The Dawn FM singles weren’t weaker than ‘Die for You,’ they just came too early. The audience was not ready for more Weeknd yet, in my opinion. Had the album come out this year, the singles probably would have charted higher.”
Meanwhile, and perhaps also benefiting from breathing room since the release of Dawn FM, The Weeknd is also scaling radio charts with “Creepin’,” with Metro Boomin and 21 Savage. The collab, which reinvents Mario Winans’ No. 2-peaking 2004 Hot 100 hit “I Don’t Wanna Know,” featuring Enya and P. Diddy, pushes 5-3 on Radio Songs (77.2 million, up 15%) and 6-4 on Pop Airplay, while hitting No. 1 on Rhythmic Airplay (where it becomes The Weeknd’s 13th leader, 21 Savage’s fifth and Metro Boomin’s first). It concurrently climbs 4-3 on the Hot 100.
Mony also cites the recent spate of successful song revivals for the current snug fit for “Die for You” on radio. “The last year has been unique for pop music, given the resurgence of so many songs like ‘Die for You,’ Kate Bush’s ‘Running Up That Hill,’ and ‘Bloody Mary’,” he says, pointing to Lady Gaga’s revitalized 2011 track that ranks at its No. 19 Pop Airplay high, up 31% in plays.
Of “Die for You,” Mony muses, adding a song from 2016 was “a little odd to me at first, but certainly no stranger, no pun intended, than adding Kate Bush from 1985. How songs become hits is changing, and I think having older songs get played as currents proves anything can be a hit now. Current hit radio could be one viral TikTok away from playing ‘Believe’ by Cher.”
Miley Cyrus’ “Flowers” remains the biggest song in the world, as it logs a third week at No. 1 on both the Billboard Global 200 and Billboard Global Excl. U.S. charts. The song now claims three of the five biggest worldwide streaming weeks for any title since the Global 200 began in September 2020.
The Billboard Global 200 and Billboard Global Excl. U.S. charts rank songs based on streaming and sales activity culled from more than 200 territories around the world, as compiled by Luminate. The Global 200 is inclusive of worldwide data and the 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.
‘Flowers’ Has 3 of 5 Biggest Global 200 Streaming Weeks
“Flowers” holds at No. 1 on the Billboard Global 200 with 185.6 million streams (down 15%) and 72,000 sold (down 35%) worldwide in the Jan. 27-Feb. 2 tracking week.
“Flowers” now claims three of the five biggest streaming weeks since the Global 200 started in September 2020.
Biggest Worldwide Streaming Weeks in Global 200 History:289.2 million, “Butter,” BTS, June 5, 2021217.1 million, “Flowers,” Miley Cyrus, Feb. 4, 2023212.1 million, “Pink Venom,” BLACKPINK, Sept. 3, 2022185.6 million, “Flowers,” Miley Cyrus, Feb. 11, 2023179.1 million, “Flowers,” Miley Cyrus, Jan. 28, 2023178.2 million, “Easy on Me,” Adele, Oct. 30, 2021170.8 million, “Permission To Dance,” BTS, July 24, 2021169.8 million, “Butter,” BTS, June 12, 2021152.8 million, “Shut Down,” BLACKPINK, Oct. 1, 2022152.6 million, “Lalisa,” Lisa, Sept. 25, 2021
Cyrus first announced during her Miley’s New Year’s Eve Party NBC special that “Flowers” would be released Jan. 13, which fans noticed doubles as her ex-husband Liam Hemsworth’s birthday. That enticing narrative and interaction on TikTok have helped swell the profile of the song, which introduces Cyrus’ eighth studio album, Endless Summer Vacation, due March 10.
Bizarrap and Shakira’s “Bzrp Music Sessions, Vol. 53” keeps at its No. 2 Global 200 high; SZA’s “Kill Bill” holds at No. 3, after two weeks on top; Sam Smith and Kim Petras’ “Unholy” lifts 5-4, after it notched four weeks at the summit in October; and Rema and Selena Gomez’s “Calm Down” dips 4-5, after reaching No. 3.
‘Flowers’ Also No. 1 for Third Week on Global Excl. U.S.
As on the Global 200, “Flowers” rules the Billboard Global Excl. U.S. chart for a third week, with 142.7 million streams (down 12%) and 35,000 sold (down 23%) outside the U.S. Jan. 27-Feb. 2.
Bizarrap and Shakira’s “Bzrp Music Sessions, Vol. 53” continues at its No. 2 Global Excl. U.S. best; SZA’s “Kill Bill” is steady at No. 3, after reaching No. 2; Rema and Selena Gomez’s “Calm Down” repeats at No. 4, following two weeks at the summit; and Sam Smith and Kim Petras’ “Unholy” rises 7-5, after it dominated for eight weeks beginning in October.
The Billboard Global 200 and Billboard Global Excl. U.S. charts (dated Feb. 11, 2023) will update on Billboard.com tomorrow (Feb. 7). 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.
Miley Cyrus’ “Flowers” leads the Billboard Hot 100 for a third week, encompassing its entire run on the chart so far, dating to its launch at No. 1. With its continued command, it ties the three-week rule of her prior leader, “Wrecking Ball,” in 2013.
Meanwhile, The Weeknd’s “Die for You,” back up to its No. 6 best on the Hot 100, becomes the most-heard hit on radio, reaching the top of the Radio Songs chart, and Lil Uzi Vert notches his seventh Hot 100 top 10 as “Just Wanna Rock” rises from No. 12 to No. 10.
The Hot 100 blends all-genre U.S. streaming (official audio and official video), radio airplay and sales data. All charts (dated Feb. 11, 2023) will update on Billboard.com tomorrow (Feb. 7). For all chart news, you can follow @billboard and @billboardcharts on both Twitter and Instagram.
“Flowers,” released on Smiley Miley/Columbia Records, drew 56.4 million radio airplay audience impressions (up 38%) and 48 million streams (down 20%) and sold 37,000 (down 43%) Jan. 27-Feb. 2, according to Luminate.
The single spends a third week at No. 1 on both the Streaming Songs and Digital Song Sales charts and blasts 11-6 on Radio Songs, where it becomes Cyrus’ fourth top 10 – and first since “Wrecking Ball” (No. 4 peak, 2013). She first reached the region with “The Climb” (No. 7) and returned with “Party in the U.S.A.” (No. 8), both in 2009.
With “Flowers” having drawn 48 million weekly streams in the latest tracking week, after it posted 59.7 million the week before and 52.6 million the week before that, it’s the first non-holiday song with three consecutive weeks of 40 million streams or more since Olivia Rodrigo’s “Good 4 U” logged four such frames in a row (May 29-June 19, 2021).
“Flowers” likewise links a sales streak not achieved since 2021, as it’s the first song to sell over 30,000 in three consecutive weeks, after moving 65,000 a week ago and 70,000 the week prior to that, since Coldplay and BTS’ “My Universe” sold over 30,000 in each of its first four weeks (Oct. 9-30, 2021).
“Flowers” introduces Cyrus’ eighth studio album, Endless Summer Vacation, due March 10.
SZA’s “Kill Bill” ranks at its No. 2 Hot 100 best for a fourth week, with 48.6 million in radio reach (up 28%), 32.5 million streams (down 5%) and 2,000 sold (down 3%). It tops Hot R&B/Hip-Hop Songs and Hot R&B Songs, which use the same methodology as the Hot 100, for an eighth week each. The track also becomes her first top 10 as a lead artist on Radio Songs (15-10), and her third overall, following her featured roles on Maroon 5’s “What Lovers Do” (No. 5, 2017) and Doja Cat’s “Kiss Me More” (No. 2, 2021).
Metro Boomin, The Weeknd and 21 Savage’s “Creepin’ ” rises to a new No. 3 high on the Hot 100, from No. 4; Taylor Swift’s “Anti-Hero” slips 3-4, after leading for a personal-best eight weeks; and Sam Smith and Kim Petras’ “Unholy” holds at No. 5, after it ruled for a week in October.
The Weeknd’s “Die for You” rebounds to its No. 6 Hot 100 best, from No. 7, as it hits No. 1 on Radio Songs, up 5% to 85.2 million in airplay audience. The track tops Radio Songs over six years after its original release on The Weeknd’s album Starboy, sparked by a surge of interaction on TikTok in recent months, which led Republic Records to officially promote it to radio.
The Weeknd adds his fifth Radio Songs No. 1, following “Earned It (Fifty Shades of Grey)” (for four weeks), “Can’t Feel My Face” (seven) and “The Hills” (five), all in 2015, and “Blinding Lights,” which dominated for a record 26 weeks in April-October 2020.
Starboy previously generated two top-three Radio Songs hits: its title cut (No. 2, 2016) and “I Feel It Coming” (No. 3, 2017), both featuring Daft Punk. (“Die for You” completes the longest journey from a title’s release to its coronation on Radio Songs since the chart began in 1990.)
David Guetta and Bebe Rexha’s “I’m Good (Blue)” descends 6-7 on the Hot 100, after reaching No. 4, as it leads the multi-metric Hot Dance/Electronic Songs chart for a 20th week; Drake and 21 Savage’s “Rich Flex” is steady at No. 8 on the Hot 100, after it reached No. 2, as it tops the multi-metric Hot Rap Songs chart for a 12th week; and Harry Styles’ “As It Was” holds at No. 9 on the Hot 100, following 15 weeks at No. 1 beginning last April, the fourth-longest rule in the chart’s history.
Rounding out the Hot 100’s top tier, Lil Uzi Vert’s “Just Wanna Rock” jumps 12-10 with 28.7 million in airplay audience (up 10%), 15 million streams (up 5%) and 1,400 sold (up 14%).
The rapper lands his seventh Hot 100 top 10 with the stand-alone single, following his featured turn on Migos’ “Bad and Boujee” (three weeks at No. 1, 2017) and his own “XO TOUR Llif3” (No. 7, 2017), “Futsal Shuffle 2020” (No. 5, 2019), “Baby Pluto” (No. 6, 2020), “Lo Mein” (No. 8, 2020) and “Silly Watch” (No. 9, 2020).
Rock on: “Just Wanna Rock” is the first Hot 100 top 10 with “rock” in its title since … well, just last month, when two holiday classics decorated the tier: “Rockin’ Around the Christmas Tree,” by Brenda Lee, and “Jingle Bell Rock,” by Bobby Helms, ranked at their respective Nos. 2 and 3 peaks. One other such song has rolled to the top 10 in the ’20s: DaBaby’s “Rockstar,” featuring Roddy Ricch, reigned for seven weeks beginning June 2020. Not that “Just Wanna Rock” is considered a rock song (having not appeared on any of Billboard’s rock-based charts; it holds at its Nos. 2 and 5 highs on Hot Rap Songs and Hot R&B/Hip-Hop Songs, respectively). The last rock chart hit with “rock” in its title to hit the Hot 100’s top 10? Nickelback’s “Rockstar” smashed its way to No. 6 in 2007.
Again, for all chart news, you can follow @billboard and @billboardcharts on both Twitter and Instagram and all charts (dated Feb. 11), including the Hot 100 in its entirety, will refresh on Billboard.com tomorrow (Feb. 7).
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.
Miley Cyrus’ “Flowers” (Columbia) continues to grow, as it powers to No. 1 in the U.K. for a third consecutive week.
“Flowers” accumulates more than 106,000 chart units during the chart cycle, outpacing its nearest rival, Raye’s “Escapism” (Human Re Sources) featuring 070 Shake, by more than two-to-one.
It’s the most-streamed song of the week in the U.K., with more than 12 million streams, the Official Charts Company reports.
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“Flowers” is already Miley’s longest-reigning No. 1 in the U.K., beating the single-stretch runs for her previous leaders “We Can’t Stop” and “Wrecking Ball,” both from 2013.
After going viral on TikTok, Miguel’s 2010 single “Sure Thing” (Jive) finds new life on the chart, lifting 10-6. That’s a new peak position for “Sure Thing,” and the U.S. artist’s highest ever chart place in the U.K.
This top debut this week belongs to KSI and Oliver Tree with “Voices” (Atlantic), new at No. 11. The collaborative single is KSI’s 18th and Tree’s third U.K. top 40 appearance.
The next-best new entry belongs to Australian singer and rapper The Kid LAROI, whose “Love Again” (Columbia) bows at No. 19, while his hit 2021 collaboration “Stay” with Justin Bieber reenters the top 40 for the first time in just under a year, at No. 37. “Love Again” is the second cut from the Kid’s forthcoming debut album, The First Time, which is set for release later this year
And finally, Pink gains her 37th U.K. top 40 single with “Never Gonna Not Dance Again,” produced by regular collaborators Max Martin and Shellback. It’s up 46-40.
“Never Gonna Not Dance Again” is lifted from the Philadelphia pop superstar’s ninth studio album Trustfall, due out Feb. 17.
Sam Smith kicks a hattrick of U.K. No. 1s as Gloria (via Capitol) debuts at the chart summit.
Gloria, which features the chart-topping, Grammy Award-winning hit “Unholy,” featuring Kim Petras, tops the Official U.K. Albums Chart, equaling the result of their 2014 debut In The Lonely Hour and 2017’s The Thrill Of It All. Smith’s third and most recent album, Love Goes, peaked at No. 2 in 2020.
Gloria is also the U.K.’s best-selling LP on wax, to lead the Official Vinyl Albums Chart.
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Meanwhile, Eminem makes a long overdue return to the U.K. top 5 with Curtain Call – The Hits (Interscope), the Rap God’s hits compilation. It lifts 7-5 for its first stint in the top 5 since its release back in December 2006, the OCC reports, and its 551st week on the chart. Meanwhile, Em’s fourth studio effort, 2002’s The Eminem Show, returns to the top 40 for the first time in almost two decades, up 58-40.
Bob Dylan snags his 42nd Top 10 LP on the latest chart, published Feb. 3, with Fragments – The Time Out Of Mind Sessions 17 (Sony Music CG), the latest instalment in his “Bootlegs” series. It’s new at No. 9.
Fragments assembles new mixes, outtakes and rarities from sessions from 1997’s Time Out Of Mind, an album that peaked at No. 10 in the U.K
Just outside the top 10 on the latest frame is Diamonds & Dancefloors (Atlantic), the second studio album from Albanian-American pop artist Ava Max. It’s new at No. 11. Diamonds & Dancefloors is the followup to 2020 debut Heaven & Hell, which peaked at No. 2.
Finally, Atlanta rapper Lil Yachty sails to a career-best with his fifth studio album Let’s Start Here (EMI). It’s new at No. 32, for Yachty’s first-ever U.K. top 40.
How well do the winners at the Grammy Awards align with Billboard chart success? Perhaps not surprisingly, very closely — especially when it comes to trophy recipients reaching the top 10 of the Billboard 200 albums chart and the Billboard Hot 100 songs chart.
Billboard looks at the crossroads of Recording Academy and commercial success in two of the most prominent Grammy categories – album of the year and record of the year – over the last 65 years, from the first awards presented in 1959, a year after the Hot 100 launched and three years after the Billboard 200 began – through music’s latest biggest night in 2023.
Album of the Year Winners on the Billboard 200
Of the 65 album of the year winners, 62 – or 95% – have hit the Billboard 200’s top 10 (two of which did so for the first time following their Grammy victories). Harry Styles’ Harry’s House is the latest contributor to that overwhelming majority, having reigned for two weeks starting upon its debut in June 2022.
A year earlier, Jon Batiste’s victory with We Are contrasted that sharp trend, and halted a run of 26 top 10s winning consecutively since 1996 – the longest streak all-time. Still, We Are surged back onto the April 16, 2022-dated Billboard 200 at a new No. 25 high; it previously spent a week on the survey, at No. 86, in April 2021. The two previous winning sets not to have hit the top 10: Tony Bennett’s MTV Unplugged, which rose to No. 48 after its 1995 win (after it had reached No. 69 before that year’s ceremony), and Glen Campbell’s By the Time I Get to Phoenix, which reached its No. 15 peak ahead of its win in 1969.
Historically, 68% of all winners (44 of 65) have led the list.
Here’s a recap of how all album of the year Grammy Award winners have performed on the Billboard 200. (Album of the year is awarded to artist[s] and featured artist[s], songwriter[s] of new material, producer[s], recording engineer[s], mixer[s] and mastering engineer[s].)
Year, Artist, Title / Billboard 200 Peak
2023, Harry Styles, Harry’s House / No. 1 – 2 weeks
2022, Jon Batiste, We Are / No. 25 (post-Grammys; previously reached No. 86)
2021, Taylor Swift, Folklore / No. 1 – 8 weeks
2020, Billie Eilish, When We All Fall Asleep, Where Do We Go? / No. 1 – 3 weeks
2019, Kacey Musgraves, Golden Hour / No. 4
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2018, Bruno Mars, 24K Magic / No. 2
2017, Adele, 25 / No. 1 – 10 weeks
2016, Taylor Swift, 1989 / No. 1 – 11 weeks
2015, Beck, Morning Phase / No. 3
2014, Daft Punk, Random Access Memories / No. 1 – 2 weeks
2013, Mumford & Sons, Babel / No. 1 – 5 weeks
2012, Adele, 21 / No. 1 – 24 weeks
2011, Arcade Fire, The Suburbs / No. 1 – 1 week
2010, Taylor Swift, Fearless / No. 1 – 11 weeks
2009, Robert Plant & Alison Krauss, Raising Sand / No. 2
2008, Herbie Hancock, River: The Joni Letters / No. 5 (post-Grammys; previously reached No. 118)
2007, The Chicks, Taking the Long Way / No. 1 – 2 weeks
2006, U2, How to Dismantle an Atomic Bomb / No. 1 – 1 week
2005, Ray Charles, Genius Loves Company / No. 1 – 1 week (post-Grammys; previously reached No. 2)
2004, OutKast, Speakerboxx/The Love Below / No. 1 – 7 weeks
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2003, Norah Jones, Come Away With Me / No. 1 – 4 weeks
2002, Soundtrack, O Brother, Where Art Thou? / No. 1 – 2 weeks (post-Grammys; previously reached No. 10)
2001, Steely Dan, Two Against Nature / No. 6
2000, Santana, Supernatural / No. 1 – 12 weeks
1999, Lauryn Hill, The Miseducation of Lauryn Hill / No. 1 – 4 weeks
1998, Bob Dylan, Time Out of Mind / No. 10
1997, Celine Dion, Falling Into You / No. 1 – 3 weeks
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1996, Alanis Morissette, Jagged Little Pill / No. 1 – 12 weeks
1995, Tony Bennett, MTV Unplugged / No. 48 (post-Grammys; previously reached No. 69)
1994, Whitney Houston, The Bodyguard soundtrack / No. 1 – 20 weeks
1993, Eric Clapton, Unplugged / No. 1 – 3 weeks (post-Grammys; previously reached No. 2)
1992, Natalie Cole, Unforgettable: With Love / No. 1 – 5 weeks
1991, Quincy Jones, Back on the Block / No. 9
1990, Bonnie Raitt, Nick of Time / No. 1 – 3 weeks (post-Grammys; previously reached No. 22)
1989, George Michael, Faith / No. 1 – 12 weeks
1988, U2, The Joshua Tree / No. 1 – 9 weeks
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1987, Paul Simon, Graceland / No. 3
1986, Phil Collins, No Jacket Required / No. 1 – 7 weeks
1985, Lionel Richie, Can’t Slow Down / No. 1 – 3 weeks
1984, Michael Jackson, Thriller / No. 1 – 37 weeks
1983, Toto, Toto IV / No. 4
1982, John Lennon & Yoko Ono, Double Fantasy / No. 1 – 8 weeks
1981, Christopher Cross, Christopher Cross / No. 6
1980, Billy Joel, 52nd Street / No. 1 – 8 weeks
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1979, Soundtrack, Saturday Night Fever / No. 1 – 24 weeks
1978, Fleetwood Mac, Rumours / No. 1 – 31 weeks
1977, Stevie Wonder, Songs in the Key of Life / No. 1 – 14 weeks
1976, Paul Simon, Still Crazy After All These Years / No. 1 – 1 week
1975, Stevie Wonder, Fulfillingness’ First Finale / No. 1 – 2 weeks
1974, Stevie Wonder, Innervisions / No. 4
1973, Various artists, The Concert for Bangladesh / No. 2
1972, Carole King, Tapestry / No. 1 – 15 weeks
1971, Simon & Garfunkel, Bridge Over Troubled Water / No. 1 – 10 weeks
1970, Blood, Sweat & Tears, Blood, Sweat & Tears / No. 1 – 7 weeks
1969, Glen Campbell, By the Time I Get to Phoenix / No. 15
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1968, The Beatles, Sgt. Pepper’s Lonely Hearts Club Band / No. 1 – 15 weeks
1967, Frank Sinatra, A Man and His Music / No. 9
1966, Frank Sinatra, September of My Years / No. 5
1965, Stan Getz & Joao Gilberto, Getz/Gilberto / No. 2
1964, Barbra Streisand, The Barbra Streisand Album / No. 9
1963, Vaughn Meader, The First Family / No. 1 – 12 weeks
1962, Judy Garland, Judy at Carnegie Hall / No. 1 – 13 weeks
1961, Bob Newhart, The Button-Down Mind of Bob Newhart / No. 1 – 14 weeks
1960, Frank Sinatra, Come Dance With Me / No. 2
1959, Henry Mancini, The Music From Peter Gunn / No. 1 – 10 weeks
Record of the Year Winners on the Hot 100
Of the 65 record of the year winners, 54 – or 83% – have hit the Hot 100’s top 10 (one of which did so for the first time following its Grammy coronation). Lizzo’s “About Damn Time” continues that trend, as 14 winners in a row since 2010 have reached the top 10, the second-longest streak, after a 23-year run in 1965-87.
Historically, 54% of all winners (35 of 65) have topped the tally, with “About Damn Time” likewise upping that share.
Here’s a rundown of how all record of the year Grammy Award winners have fared on the Hot 100. (Record of the year is awarded to artist/producer[s], recording engineer[s] and/or mixer[s] and mastering engineer[s], if other than artist.)
Year, Title, Artist / Hot 100 Peak
2023, “About Damn Time,” Lizzo / No. 1 – 2 weeks
2022, “Leave the Door Open,” Silk Sonic (Bruno Mars & Anderson .Paak) / No. 1 – 2 weeks
2021, “Everything I Wanted,” Billie Eilish / No. 8
2020, “Bad Guy,” Billie Eilish / No. 1 – 1 week
2019, “This Is America,” Childish Gambino / No. 1 – 2 weeks
2018, “24K Magic,” Bruno Mars / No. 4
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2017, “Hello,” Adele / No. 1 – 10 weeks
2016, “Uptown Funk!,” Mark Ronson feat. Bruno Mars / No. 1 – 14 weeks
2015, “Stay With Me,” Sam Smith / No. 2
2014, “Get Lucky,” Daft Punk feat. Pharrell Williams / No. 2
2013, “Somebody That I Used To Know,” Gotye feat. Kimbra / No. 1 – 8 weeks
2012, “Rolling in the Deep,” Adele / No. 1 – 7 weeks
2011, “Need You Now,” Lady A / No. 2
2010, “Use Somebody,” Kings of Leon / No. 4
2009, “Please Read the Letter,” Robert Plant & Alison Krauss / did not chart
2008, “Rehab,” Amy Winehouse / No. 9
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2007, “Not Ready To Make Nice,” Dixie Chicks / No. 4 (post-Grammys; previously reached No. 23)
2006, “Boulevard of Broken Dreams,” Green Day / No. 2
2005, “Here We Go Again,” Ray Charles & Norah Jones / did not chart
2004, “Clocks,” Coldplay / No. 29
2003, “Don’t Know Why,” Norah Jones / No. 30
2002, “Walk On,” U2 / did not chart
2001, “Beautiful Day,” U2 / No. 21
2000, “Smooth,” Santana feat. Rob Thomas / No. 1 – 12 weeks
1999, “My Heart Will Go On,” Celine Dion / No. 1 – 2 weeks
1998, “Sunny Came Home,” Shawn Colvin / No. 7
1997, “Change the World,” Eric Clapton / No. 5
1996, “Kiss From a Rose,” Seal / No. 1 – 1 week
1995, “All I Wanna Do,” Sheryl Crow / No. 2
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1994, “I Will Always Love You,” Whitney Houston / No. 1 – 14 weeks
1993, “Tears in Heaven,” Eric Clapton / No. 2
1992, “Unforgettable,” Natalie Cole / No. 14
1991, “Another Day in Paradise,” Phil Collins / No. 1 – 4 weeks
1990, “Wind Beneath My Wings,” Bette Midler / No. 1 – 1 week
1989, “Don’t Worry, Be Happy,” Bobby McFerrin / No. 1 – 2 weeks
1988, “Graceland,” Paul Simon / No. 81
1987, “Higher Love,” Steve Winwood / No. 1 – 1 week
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1986, “We Are the World,” USA for Africa / No. 1 – 4 weeks
1985, “What’s Love Got to Do With It,” Tina Turner / No. 1 – 3 weeks
1984, “Beat It,” Michael Jackson / No. 1 – 3 weeks
1983, “Rosanna,” Toto / No. 2
1982, “Bette Davis Eyes,” Kim Carnes / No. 1 – 9 weeks
1981, “Sailing,” Christopher Cross / No. 1 – 1 week
1980, “What a Fool Believes,” The Doobie Brothers / No. 1 – 1 week
1979, “Just the Way You Are,” Billy Joel / No. 3
1978, “Hotel California,” Eagles / No. 1 – 1 week
1977, “This Masquerade,” George Benson / No. 10
1976, “Love Will Keep Us Together,” Captain & Tennille / No. 1 – 4 weeks
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1975, “I Honestly Love You,” Olivia Newton-John / No. 1 – 2 weeks
1974, “Killing Me Softly With His Song,” Roberta Flack / No. 1 – 5 weeks
1973, “The First Time Ever I Saw Your Face,” Roberta Flack / No. 1 – 6 weeks
1972, “It’s Too Late,” Carole King / No. 1 – 5 weeks
1971, “Bridge Over Troubled Water,” Simon & Garfunkel / No. 1 – 6 weeks
1970, “Aquarius/Let the Sunshine In,” The 5th Dimension / No. 1 – 6 weeks
1969, “Mrs. Robinson,” Simon & Garfunkel / No. 1 – 3 weeks
1968, “Up, Up and Away,” The 5th Dimension / No. 7
1967, “Strangers in the Night,” Frank Sinatra / No. 1 – 1 week
1966, “A Taste of Honey,” Herb Alpert & the Tijuana Brass / No. 7
1965, “The Girl From Ipanema,” Astrud Gilberto & Stan Getz / No. 5
1964, “Days of Wine and Roses,” Henry Mancini / No. 33
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1963, “I Left My Heart in San Francisco,” Tony Bennett / No. 19
1962, “Moon River,” Henry Mancini / No. 11
1961, “Theme From A Summer Place,” Percy Faith / No. 1 – 9 weeks
1960, “Mack the Knife,” Bobby Darin / No. 1 – 9 weeks
1959, “Nel Blu Dipinto Di Blu (Volare),” Domenico Modugno / No. 1 – 5 weeks
TOMORROW X TOGETHER lands its first No. 1 album on the Billboard 200 albums chart, as The Name Chapter: TEMPTATION debuts atop the tally (dated Feb. 11). The five-song set earned 161,500 equivalent album units in the U.S. in the week ending Feb. 2, according to Luminate, largely driven by CD album sales.
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The Name Chapter: TEMPTATION is the third top 10-charting effort for the South Korean vocal group, which reached the top 10 previously in 2022 with Minisode 2: Thursday’s Child (No. 4) and in 2021 with The Chaos Chapter: Freeze (No. 5).
The Name Chapter: TEMPTATION halts the chart-topping run for SZA’s SOS, which falls to No. 2 (100,000 equivalent album units; down 10%) after spending its first seven weeks at No. 1.
Also in the top 10 of the new Billboard 200, Sam Smith achieves their fourth top 10-charting effort as Gloria debuts at No. 7, while Lil Yachty notches his third top 10 set with the No. 9 arrival of Let’s Start Here.
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 Feb. 11, 2023-dated chart will be posted in full on Billboard‘s website on Feb. 7. For all chart news, follow @billboard and @billboardcharts on both Twitter and Instagram.
Of The Name Chapter: TEMPTATION’s 161,500 equivalent album units earned, album sales comprise 152,000, SEA units comprise 9,000 (equaling 13.24 on-demand official streams of the set’s five songs) and TEA units comprise 500.
The Name Chapter: TEMPTATION scores the largest sales week for any album since Taylor Swift’s Midnights debuted at No. 1 with 1.14 million copies sold on the Nov. 5, 2022-dated chart. Of The Name Chapter: TEMPTATION’s 152,000 sold, 98% were CD sales (148,500), while 2% were digital album sales (3,500). The set was not available to purchase in any other configuration (such as vinyl or cassette).
The CD configuration of The Name Chapter: TEMPTATION was issued in collectible packages (14 total, including exclusive editions for Barnes & Noble, Target and the Weverse webstore), each with a standard set of internal paper items and branded randomized mystery elements (photo cards, photo books, post cards). CD sales were also enhanced by autographed editions sold via the act’s webstore.
The Name Chapter: TEMPTATION is TOMORROW X TOGETHER’s seventh charting album on the all-genre Billboard 200, though the act has yet to reach the all-genre Billboard Hot 100 songs chart. TOMORROW X TOGETHER is the second act to top the Billboard 200 in the last year without also having previously logged a hit on the Hot 100, following fellow K-pop group Stray Kids, which notched two No. 1 albums in 2022 (ODDINARY and MAXIDENT).
The Name Chapter: TEMPTATION is recorded mostly in the Korean language, with some English lyrics. It is the 17th mostly non-English language album to hit No. 1. In 2022, there were four non-English No. 1s from BTS’ mostly-Korean Proof, Bad Bunny’s all-Spanish Un Verano Sin Ti and Stray Kids’ mostly-Korean ODDINARY and MAXIDENT. Of the 17 mostly non-English No. 1 albums, 10 have been Korean-language projects (six from BTS, two from Stray Kids, one from SuperM and one from TOMORROW X TOGETHER).
Four former No. 1s are Nos. 3-6 on the new Billboard 200, as Swift’s Midnights falls 2-3 with 68,000 equivalent album units earned (though up 1%), Metro Boomin’s Heroes & Villains rises 5-4 with 47,000 (down 12%), Drake and 21 Savage’s Her Loss climbs 6-5 with 44,000 (down 4%) and Morgan Wallen’s Dangerous: The Double Album bumps 8-6 with 42,000 (up 5%).
Sam Smith collects their fourth top 10-charting effort on the Billboard 200 as Gloria debuts at No. 7 with 39,000 equivalent album units earned. Of that sum, SEA units comprise 23,000 (equaling 30.75 million on-demand official streams of the set’s songs), album sales comprise 14,000 and TEA units comprise 2,000. Gloria was preceded by its hit single “Unholy,” a co-billed collaboration with Kim Petras, which became both artists’ first No. 1 on the Hot 100 in October.
Bad Bunny’s former leader Un Verano Sin Ti falls 7-8 on the Billboard 200 with 39,000 equivalent album units earned (down 5%).
Lil Yachty’s Let’s Start Here begins at No. 9 on the Billboard 200 with 36,000 equivalent album units earned. Of that sum, SEA units comprise 31,500 (equaling 41.34 million on-demand official streams of the set’s tracks), album sales comprise 4,500 and TEA units comprise a negligible sum. It’s the third top 10-charting effort for Lil Yachty on the Billboard 200.
Let’s Start Here is a sonic left turn for the artist, who previously charted six entries on the Top R&B/Hip-Hop Albums chart. The new project has been described by the artist as “non-rap” and as “a psychedelic alternative project.”
Rounding out the new Billboard 200’s top 10 is Zach Bryan’s American Heartbreak, falling 9-10 with 31,000 equivalent album units earned (down 4%).
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.