Chart Beat
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Beyoncé reasserts her radio dominance on both the R&B/hip-hop and rhythmic formats as “Cuff It” follows the chart-topping success of “Break My Soul” earlier this year. “Cuff It” tops Billboard’s R&B/Hip-Hop Airplay chart (dated Dec. 10) and ensures the superstar’s first time with multiple No. 1s in the same year for the first time since 2003, as “Break My Soul” reigned for five weeks in August – September.
“Cuff” jumps from No. 3 after it registered a strong 24% weekly increase to 21.7 million in audience that made it the most-heard song on U.S. monitored R&B and hip-hop radio stations in the week ending Dec. 4, according to Luminate. The 4.2 million audience improvement also secures “Cuff” the weekly Greatest Gainer honor among the chart’s 50 songs.
The new champ is Beyoncé’s 10th No. 1 on the R&B/Hip-Hop Airplay chart as a solo artist. Here’s a rundown of Queen Bey’s chart-topping collection on the list:
“Crazy in Love,” featuring Jay-Z, four weeks at No. 1, beginning July 19, 2003
“Baby Boy,” featuring Sean Paul, five, Sept. 27, 2003
“Irreplaceable,” nine, Dec. 2, 2006
“Single Ladies (Put a Ring on It),” 12, Nov. 29, 2008
“Love on Top,” seven, March 10, 2012
“Drunk in Love,” featuring Jay-Z, eight, Feb. 1, 2014
“7/11,” five, Feb. 14, 2015
“Savage,” Megan Thee Stallion featuring Beyoncé, three, May 23, 2020
“Break My Soul,” five, Aug. 6, 2022
“Cuff It,” one (to date), Dec. 10, 2022
Plus, as Beyoncé enters the double-digit club with 10 No. 1s on R&B/Hip-Hop Airplay, she’s the first woman to earn that honor since the chart launched in 1992. Overall, she’s only the fourth member, joining Drake (28), Usher (15) and Lil Wayne (12).
Likewise, “Cuff It” captures the crown on the Rhythmic Airplay chart, where it leaps from No. 4 following an 18% surge in weekly plays that made it the most-played song on U.S. monitored rhythmic radio stations in the week ending Dec. 4. As on the R&B/Hip-Hop Airplay chart, the swell of activity ensures the chart’s Greatest Gainer honor for the new champ.
With “Cuff It,” Beyoncé pushes her solo career count to 12 No. 1s on Rhythmic Airplay. Here’s a look at the dozen chart-toppers:
“’03 Bonnie & Clyde,” Jay-Z featuring Beyoncé, three, Jan. 4, 2003
“Crazy in Love,” featuring Jay-Z, one, Aug. 9, 2003
“Baby Boy,” featuring Sean Paul, seven, Sept. 27, 2003
“Naughty Girl,” one, May 22, 2004
“Check on It,” featuring Slim Thug, one, March 4, 2006
“Irreplaceable,” seven, Dec. 30, 2006
“Sweet Dreams,” one, Nov. 28, 2009
“Drunk in Love,” featuring Jay-Z, three, March 1, 2014
“Shining,” DJ Khaled featuring Beyoncé & Jay-Z, one, May 13, 2017
“Savage,” Megan Thee Stallion featuring Beyoncé, two, May 30, 2020
“Break My Soul,” three, Aug. 20, 2022
“Cuff It,” one (to date), Dec. 10, 2022
Thanks to the one-two punch of “Soul” and “Cuff,” Beyoncé lands consecutive No. 1 charting singles on Rhythmic Airplay for the first time since “Naughty Girl” and “Check on It” combined forces. Plus, thanks to the same pair, parent album Renaissance is the superstar’s first with multiple chart-toppers at the radio format since Dangerously in Love launched “Crazy in Love,” “Baby Boy” and “Naughty Girl” in 2003-04.
With her now dozen Rhythmic Airplay No. 1s, Beyoncé is now one of seven artists with at least that many. Drake (36) leads the class, followed by Rihanna (17), Chris Brown, Bruno Mars, Usher (13 each) and equals Lil Wayne and The Weeknd’s career marks.
Johnny Marks and Owen Bradley return to No. 1 on Billboard’s Hot 100 Songwriters and Hot 100 Producers charts, respectively, thanks to seasonal classics making their annual return to the Billboard Hot 100 (with all charts dated Dec. 10).
Marks rules Hot 100 Songwriters on the strength of three songwriting credits on the latest Hot 100: Brenda Lee’s “Rockin’ Around the Christmas Tree” (No. 3), Burl Ives’ “A Holly Jolly Christmas” (No. 6) and Gene Autry’s “Rudolph the Red-Nosed Reindeer” (No. 34).
With his 15th week at No. 1, Marks ties Lin-Manuel Miranda for the second-most time spent at the summit since the chart began in 2019. Olivia Rodrigo leads all acts with 22 weeks on top.
With holiday hits annually scaling the Hot 100, Marks has now ruled Hot 100 Songwriters in each of the four most recent Yuletide seasons, starting in December 2019. He died in 1985 at age 75, and became the first artist to posthumously top the chart. He concurrently tops the Holiday Songwriters list, which Billboard launched a week ago.
On the Hot 100 Producers chart, Bradley returns to No. 1 thanks to his production on Lee’s “Rockin’ Around the Christmas Tree” and Bobby Helms’ “Jingle Bell Rock” (No. 5).
Similar to Marks, Bradley has topped the producers chart every year since Billboard initiated the producer charts. With his eighth week at No. 1, he ties Finneas for the seventh-most weeks spent at No. 1. Dan Nigro leads all acts with 27 weeks at the helm. Bradley died in 1998 at age 82.
The weekly Hot 100 Songwriters and Hot 100 Producers charts are based on total points accrued by a songwriter and producer, respectively, for each attributed song that appears on the Hot 100; plus, genre-based songwriter and producer charts follow the same methodology based on corresponding “Hot”-named genre charts. As with Billboard’s yearly recaps, multiple writers or producers split points for each song equally (and the dividing of points will lead to occasional ties on rankings).
The full Hot 100 Songwriters and Hot 100 Producers charts, in addition to the full genre rankings, can be found on Billboard.com.
Metallica‘s “Lux Æterna” soars in at No. 1 on Billboard’s Hot Hard Rock Songs chart dated Dec. 10.
Following its Nov. 28 premiere, the track bows with 5.3 million in radio audience, 3.3 million official U.S. streams and 4,000 sold through Dec. 1, according to Luminate.
“Lux” previews 72 Reasons, the band’s 11th studio album, due April 14, 2023.
Metallica previously topped Hot Hard Rock Songs (which began in 2020) for nine weeks starting in July with its 1986 classic “Master of Puppets,” sparked by its synch in Netflix’s Stranger Things.
“Lux” concurrently charges in at No. 2 on Mainstream Rock Airplay, the chart’s best debut since 2006, when Red Hot Chili Peppers‘ “Dani California” also began at No. 2. Metallica ties its highest arrival on the list, matching 2003’s “St. Anger.” The band now boasts 25 top 10s on the tally, dating to its first — “Enter Sandman,” in 1991.
“Lux” also opens at No. 2 on Rock & Alternative Airplay and becomes the group’s first Alternative Airplay entry since 2009 at No. 35.
The track debuts at No. 1 on Hard Rock Digital Song Sales (marking Metallica’s fifth ruler since the chart began in 2007 and second this year following “Puppets” [seven weeks]) and at No. 7 on Hard Rock Streaming Songs.
72 Reasons is Metallica’s first studio album since Hardwired…to Self-Destruct, which debuted as the band’s sixth No. 1 on the all-genre Billboard 200 chart in December 2016. The group first led with its self-titled set in August 1991; the album spends a 688th week on the Dec. 10-dated survey, the fourth-longest run in the tally’s history, dating to 1956.
Intocable climbs to a milestone 45 top 10s on Billboard’s Regional Mexican Airplay chart as “Un Poquito Tuyo” jumps 13-9 on the Dec. 10-dated ranking. The group now ties with Los Tigres del Norte for the most top 10s overall.
“Un Poquito Tuyo” lands in the upper reaches of the chart in its fifth week thanks to a 15% weekly increase in audience impressions earned in the U.S. in the week ending Dec. 4, according to Luminate. The song was released Oct. 14 via Good I Music.
“Un Poquito” is the second single from Intocable’s forthcoming album (release date to be announced), and was written by Carlos Preciado and Ricardo Muñoz. As mentioned, the song advances to the tally’s top region and earns the group its 45th top 10, all spanning four decades, tying with Los Tigres del Norte for the most top 10s since the chart launched in 1994. Here’s the leaderboard:
45, Intocable
45, Los Tigres del Norte
44, Banda El Recodo de Cruz Lizárraga
36, Los Tucanes de Tijuana
35, La Arrolladora Banda el Limón de Rene Camacho
32, Banda MS de Sergio Lizárraga
32, Calibre 50
30, Marco Antonio Solis
28, Conjunto Primavera
24, Vicente Fernandez
The new top 10 arrives just a month after the sextet earned its second top 10 of 2022 through “Más Muerto Que Vivo,” with Matisse (Nov. 5-dated ranking). Previously, “Si Me Duele Que Duela” ruled for two week in July.
Elsewhere, “Un Poquito”climbs 32-26 on the all-genre Latin Airplay chart.
As we count down the shopping days remaining until Christmas, let’s also count down the top 25 holiday albums. This list is drawn from Billboard’s Greatest of All Time Top Holiday Albums chart, which is based on actual performance on Billboard’s weekly Top Holiday Albums chart from its inception on Dec. 21, 1985, through the ranking dated Jan. 8, 2022.
Mannheim Steamroller has four albums in the top 25, more than any other artist. Pentatonix and Trans-Siberian Orchestra each have two. The top 25 includes two Various Artists albums – NOW That’s What I Call Christmas! and A Very Special Christmas – and one soundtrack – the Vince Guaraldi Trio’s A Charlie Brown Christmas.
Nine of the top 25 albums are instrumental. Six are by male solo vocalists; four are by female solo vocalists. Two are by a vocal group (the aforementioned Pentatonix), one is by a vocal duo (Carpenters).
The most prized tracks on two of these albums were first recorded in the 1940s. Bing Crosby first recorded “White Christmas” in 1942 for the film Holiday Inn, in which he co-starred with Fred Astaire. Nat King Cole first recorded “The Christmas Song” in 1946, when he was still with the jazz trio, The King Cole Trio. These two classics were among the first five recordings inducted into the Grammy Hall of Fame in 1974.
Let’s take a closer look at the top 25 holiday albums since 1985. We show the album’s release date, its Billboard 200 peak and the names of any guest artists who appeared on the standard edition of the album.
Jonathan McReynolds‘ “Your World” ascends to the top of Billboard‘s Gospel Airplay chart (dated Dec. 10), marking his record-tying fifth No. 1 in a row, encompassing all his leaders.
In the tracking week ending Dec. 4, “Your World” increased by 22% in plays, according to Luminate.
McReynolds co-authored the song with Dee Wilson.
“The past year has been filled with great milestones,” McReynolds tells Billboard. “I’m thankful that we have been able to offer life-changing music that points people straight to the source of it all.”
McReynolds ties Todd Dulaney, who also boasts an active run of five straight Gospel Airplay No. 1s. In September, Dulaney notched his fifth in succession with “Satisfied,” featuring Smokie Norful (marking Dulaney’s sixth leader overall, and Norful’s third).
For the 33-year-old McReynolds, who hails from Chicago, “Your World” follows “Grace,” which dominated for a week in August 2021. “Movin’ On,” a collaboration with Mali Music, topped the tally for one frame in October 2020; “Make Room” became a one-week leader in December 2019; and “Not Lucky, I’m Loved” paced the chart for a week in September 2018.
McReynolds has notched one additional top 10, “Gotta Have You” (No. 5, August 2015).
Plus, “Your World” completes McReynolds’ quickest trip to the Gospel Airplay summit: 15 weeks. The ascent passes “Grace,” which reached the penthouse in its 21stweek.
While many listeners have surely dedicated Stevie B’s 1990 smash ballad “Because I Love You (The Postman Song)” to a romantic interest, its writer, Warren Brooks, remembers that it was inspired by a different source.
“It was God talking to me, telling me He got my letter, and that whenever I needed Him, He’d be there for me,” Brooks tells Billboard. “I was feeling a little down one day, and talking to God, and God talking to me. That’s how it came about. I just wrote down what came to me.”
On the Billboard Hot 100 dated Dec. 8, 1990, Stevie B sent the song (also featuring string arrangements by Brooks) to No. 1 for its first of four weeks at the summit. It marked the first, and to-date sole, leader for Brooks as a writer, and for the singer who had broken through with uptempo freestyle anthems including “Dreamin’ of Love,” “Spring Love (Come Back to Me)” and “I Wanna Be the One” in 1988-89.
With the release of Stevie B’s third LP, Love & Emotion (on LMR/RCA Records), he reached his highest Hot 100 rank to that point with the title cut, also penned solely by Brooks. The dance/pop song hit No. 15 in September 1990, paving the way for the singer’s first No. 1 three months later.
Brooks and Stevie B met in 1985, when the former finished writing “The Postman Song” after beginning it in 1983, and the latter gave it his stamp of approval. “Stevie heard me playing it on the piano and he said, ‘That sounds like a hit,’” Brooks recalls. “When he got his deal with LMR Records, he decided to [record] it. He really loved it.”
In topping the Hot 100, “The Postman Song” dethroned “I’m Your Baby Tonight,” the lead/title-track single from Whitney Houston’s third album. Also in the top 10 that week were enduring hits such as Mariah Carey’s “Love Takes Time,” DNA’s “Tom’s Diner,” featuring Suzanne Vega, and Madonna’s “Justify My Love.”
“I just felt, ‘It’s on now. I’m in the game’,” muses Brooks, who since 1991 has run Wab Nation Records, which he co-founded.
“The Postman Song” helped set the stage for Stevie B’s second-highest-charting Hot 100 hit, and further success with love songs, as follow-up ballad “I’ll Be by Your Side” rose to No. 12 in March 1991. Another AC-focused song, “Dream About You,” hit No. 29 in June 1995.
Three decades past its Hot 100 peak, “The Postman Song” ranks among the top 100 classics on Billboard‘s Greatest of All Time Hot 100 Songs chart. “I felt that the song had the right lyrics,” Brooks says. “I just thought that if it got a shot, it would do great things.”
After a record 31 years away, Iggy Pop is back on Billboard’s Mainstream Rock Airplay chart.
“Frenzy,” the Godfather of Punk’s lead single from his upcoming album Every Loser, debuts at No. 38 on the ranking dated Dec. 10.
Iggy Pop makes his first appearance on the list since “Candy,” a duet with Kate Pierson of The B-52’s, peaked at No. 30 in January 1991 and charted into that February.
In between “Candy” and “Frenzy,” Iggy Pop has stayed busy, releasing nine albums between 1993 and 2019. While none spurred singles that reached Mainstream Rock Airplay, he appeared on Alternative Airplay with two tracks (“Wild America,” No. 25, 1993; “Little Know It All,” No. 35, 2003) and Adult Alternative Airplay with one (“Gardenia,” No. 26, 2016).
Iggy Pop’s 31-year absence from Mainstream Rock Airplay breaks a record set earlier in 2022 by Jeff Beck. Beck had been away for 28 years, from his Seal co-bill “Manic Depression” in 1994 to his featured turn on Ozzy Osbourne’s “Patient Number 9” this year.
Longest Gaps Between Mainstream Rock Airplay Entries31 years, nine months, two weeks, Iggy Pop (1991-2022)28 years, four months, Jeff Beck (1994-2022)27 years, five months, Elton John (1992-2020)25 years, 11 months, three weeks, Brian May (1993-2019)23 years, four months, three weeks, Charlie Daniels (1987-2011)
“Frenzy” is Iggy Pop’s sixth Mainstream Rock Airplay appearance, dating to the chart’s 1981 inception. He achieved his best with “Real Wild Child,” which hit No. 27 in 1987.
Every Loser is due as one of 2023’s first album releases, on Jan. 6.
Welcome to Billboard Pro’s Trending Up newsletter, where we take a closer look at the songs, artists, curiosities and trends that have caught the music industry’s attention. Some have come out of nowhere, others have taken months to catch on, and all of them could become ubiquitous in the blink of a TikTok clip. This week: A Lady Gaga deep cut goes viral thanks to Netflix’s Wednesday — despite not being featured in the show — while a star trio’s ’00s R&B cover gets a big bump for the original, and Snoop Dogg does it for the kids.
Lady Gaga’s “Bloody Mary” Soars Over 400% in Streams Thanks to ‘Wednesday’
The streaming gains of The Cramps’ “Goo Goo Muck,” as covered in Trending Up last week, make perfect sense: the spooky-punk classic was used in a school dance sequence in Netflix’s smash new Addams Family revival Wednesday. With millions binging the show following its Nov. 23 premiere, “Goo Goo Muck” naturally received a healthy streaming bump by viewers eager to listen to the song that soundtracked Jenna Ortega’s limb-throwing dance moves.
Yet that school dance sequence is also helping Lady Gaga’s “Bloody Mary” make major moves… and Gaga’s Born This Way track (released on Interscope in 2011) isn’t even featured in Wednesday. Instead, TikTok users have figured out that speeding up “Bloody Mary” makes the electro-pop track synch perfectly with Wednesday’s off-kilter choreography, and are producing and liking hundreds of “Bloody Mary”/Wednesday clips as a result.
“Bloody Mary,” which was never released as a single from Born This Way, is up 415% in weekly U.S. on-demand streams for the week ending Dec. 1, cracking 2 million plays in that time frame, according to Luminate. “Slay Wednesday!” Mother Monster wrote on Twitter last Thursday (Dec. 1) to acknowledge the trend. “You’re welcome at Haus of Gaga anytime (and bring Thing with you, we love paws around here).” At the end of a year where TV and movie soundtrack hits were louder than ever on TikTok, it’s only fitting that we get a soundtrack hit fully born on the platform. – JASON LIPSHUTZ
The Weeknd & Metro Boomin Fans Can’t Keep Their “I Don’t Wanna Know” Listening on the Low
It might’ve been re-titled “Creepin’,” but any fan of ‘00s pop or R&B knew what the deal was by the end of The Weeknd’s first line. The song, taken from star producer Metro Boomin’s new Boominati Worldwide/Republic set Heroes & Villains, is a cover in all but name of Mario Winans’ cheated-on classic “I Don’t Wanna Know” (from his 2004 album Hurt No More on Bad Boy/Universal) with rap’s late-year-MVP 21 Savage handling the guest verse duties that belonged to Diddy on the original. Featured as the lead track on Spotify’s most recent New Music Friday playlist, “Creepin’” was one of the best-performing tracks on streaming over the weekend, and is currently leading the daily charts for both Spotify and Apple Music.
We’ll see next week what kind of early chances “Creepin’” has of matching or exceeding the chart heights of “I Don’t Wanna Know,” which peaked at No. 2 on the Billboard Hot 100 in 2004. But in the meantime, some of its streaming success has also spilled over to the song’s predecessor: Its daily official on-demand U.S. stream count rose from just under 50,000 on Dec. 1 (the day before “Creepin’”) to over 157,000 on Dec. 3 – a gain of 215%, according to Luminate. – ANDREW UNTERBERGER
Raye Resets, Scores a Fast-Moving Viral Hit
“A little context, if you care to listen/ I find myself in a s–t position,” Raye sings early in her new single “Escapism,” featuring 070 Shake; the British pop artist is singing about an unexpected breakup and the drowning-of-sorrows that will follow, but Raye also found herself in a sticky situation last year when she publicly claimed that her label, Polydor Records, was refusing to release her long-completed debut album.
Now, Raye has a new deal with Human Re Sources/The Orchard, and a viral hit with “Escapism,” which has gotten the sped-up TikTok treatment and taken off as the soundtrack to various lip-syncs and rap-alongs following its Nov. 11 release. “Escapism” earned nearly 2 million U.S. on-demand streams in the week ending Dec. 1, according to Luminate – a 300% gain from the previous week. Raye has been featured on dance hits by David Guetta, Jax Jones and Major Lazer, but she may be entering 2023 with a fresh start and a hit as a lead artist – the opposite of a s–t situation, really. – JL
“Affirmation”s With Snoop Becomes a Surprise TikTok Trend
If you’ve ever felt like you needed some motivational pep talk from Tha Doggfather, it’s been quite the last couple weeks for you on TikTok, where the Snoop Dogg-fronted kids’ music project Doggyland has been taking off lately. “Affirmation Song” has been the biggest breakout track from its independently released Kids Hits, Vol. 1 project, with thousands of vid eos – most from adults, clearly still in need of a little positive reinforcement – being soundtracked by Snoop leading a chorus of kids in a series of the titular chants (“There is no one better to be but myself! Today is gonna be an amazing day!”) The song’s streaming performance has gotten an accompanying self-esteem boost, spiking 272% in official on-demand U.S. streams to 269,000 for the week ending Dec. 1, according to Luminate, and undoubtedly raising some label eyebrows about what other artists might be able to get into the viral kids’ music game. – AU
Q&A: Stephen Brower, Global Co-Lead of Artist Relations at Amazon Music, on What’s Trending Up in His World
What was the process for programming this year’s lineup of Amazon Original and cover holiday songs?
We always look to work with artists we know our Amazon Music customers love. Lizzo and Kane Brown have had massive success on Amazon Music, both throughout their careers and certainly with their 2022 album releases. Lauren Spencer-Smith is likewise an emerging artist that Amazon Music customers have been loving all year long. Working with each of them to find a holiday song that we thought holiday listeners on Amazon Music would discover and love was a fun process, and one we think will delight their fans on Amazon Music.
We also look to work with artists across different genres and styles of holiday music. If you’re an R&B fan, there’s an amazing Giveon Amazon Original for you to discover. If you love classical holiday music, Alexis Ffrench has delivered a beautiful song for you.
What have you noticed in terms of how Amazon Music users are interacting with holiday music in 2022 as opposed to previous years?
Our customers have found these new holiday Amazon Originals early this year, and certainly seem to be responding to these songs. We’re already seeing Originals on the Holiday 100, with Lauren Spencer-Smith at No. 51, Lizzo at No. 54 and Kane Brown at No. 58 on the chart. Both Lizzo and Lauren Spencer-Smith debuted on the Hot 100 this week, and Lizzo’s track is currently at No. 52 on the Official Charts (UK) Top 100 this week. That these songs are only available on Amazon Music — and are doing so well so early in December — shows how excited our customers are about holiday music and about these new Amazon Originals.
Every year, several artists try to launch new holiday songs as well as covers of classics, with only a few cutting through the clutter. What do you think is the biggest key to a successful new holiday song?
The beauty of holiday music, but also one of its challenges, is that having a holiday hit is really a long-term proposition. These songs only have a brief window of time to catch the public’s ear, but they have that window every year. Our 2018 Amazon Original from Katy Perry, “Cozy Little Christmas,” was certified platinum earlier this year, and now feels like one of those songs listeners are going to look for every year. I think something similar is happening with Carrie Underwood’s Amazon Original song “Favorite Time of Year” from 2020. Those songs have that magic quality of being both nostalgic and contemporary at the same time, which I think will be key to their timelessness.
With artists with whom we work to create new cover versions of classic tracks, I think a key is having something distinctive so that their new version can sit alongside an original or iconic version and not compete with it. Last year, Camila Cabello’s Amazon Original version of “I’ll Be Home For Christmas” featured mariachi flourishes that felt totally authentic to her, and also gave her version something listeners would seek out alongside other versions of that song. This year, Lauren Spencer-Smith’s take on “Last Christmas” is as an emotional ballad, which gives a totally different feel than Wham!’s iconic version.
Fill in the blank: the biggest new trend in holiday music over the next few years will be _______.
Holiday versions of songs that aren’t otherwise tied to the season. In the U.K., Stormzy has released an Amazon Original holiday version of his current single “Firebabe” that customers are loving. We did something similar last year with the Amazon Original holiday version of Coi Leray’s viral smash “Twinnem.” I love both of those and think they really offer something unique to fans alongside songs that are more explicitly “holiday,” thematically. – JL
Seasons Gainings: Happy “Heather” Day
In between cleaning up from Thanksgiving and starting to hang your holiday decorations, did you make time to celebrate “Heather” Day? Maybe not, but plenty of Conan Gray fans surely did, with “Heather Day” trending all across social media on Dec. 3 – thanks to the date being mentioned in the 2020 hit ballad’s opening lyrics, “I still remember, the third of December, me in your sweater…” Plenty of commemorating took place across streaming services as well, with “Heather” (from Gray’s Republic-released Kid Krow album) rising 92% in daily official on-demand U.S. streams to over 914,000 on Dec. 3, according to Luminate – enough for the song to re-enter the Spotify Daily Top Songs USA chart at No. 62. – AU
Official HIGE DANdism’s “Subtitle” returns to the top of the Billboard Japan Hot 100 again, extending its record to 5 weeks at No. 1 on the chart dated Dec. 7.
“Subtitle” continues to sit at No. 1 for streaming for the seventh straight week (from 19,306,522 to 18,006,563 weekly streams) and hits No. 1 for downloads (from 14,583 to 15,611 units) for the fourth, while also coming in at No. 3 for video (from 2,869,548 to 2,696,956 views), No. 6 for radio airplay, and No. 8 for karaoke.
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Last week’s No. 1 song, Kenshi Yonezu’s “KICK BACK,” falls to No. 2, coming in at No. 2 for streaming (from 13,272,889 to 12,507,777 streams), downloads (from 14,349 to 11,613 units), video (from 4,356,710 to 3,031,299 views) and karaoke. In other metrics, the track hit No. 10 for radio and No. 11 for sales. Both “Subtitle” and “KICK BACK” are slowing down figure-wise, but “Subtitle” saw a smaller decrease overall and their positions reversed on this week’s list.
King & Prince’s former No. 1 single “Tsukiyomi” holds at No. 3 on the Japan Hot 100 and continues to perform well. The single sold 111,385 copies this week (up from 80,306 last week) and rises 3-1 for the second time on the metric, and also holds at No. 1 for video for the third week although figures have decreased slightly from 3,564,897 to 3,363,622 views.
The Billboard Japan Hot 100 combines physical and digital sales, audio streams, radio airplay, YouTube and GYAO! video views and karaoke data.
See the full Billboard Japan Hot 100 chart, tallying the week from Nov. 28 to Dec. 4, here. For more on Japanese music and charts, visit Billboard Japan’s English Twitter account.