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Kevin Bacon scores his first career entry on a Billboard songs chart as “Here It Is Christmastime,” from The Guardians of the Galaxy Holiday Special, debuts at No. 7 on Holiday Digital Song Sales, No. 10 on Rock Digital Song Sales and No. 27 on the all-genre Digital Song Sales chart (all dated Dec. 10).

The song, on which he’s co-billed with the Old 97’s, debuts with 2,000 downloads sold in the Nov. 25-Dec. 1 tracking week, according to Luminate.

The Guardians special, in which Bacon plays a fictionalized version of himself, premiered on Disney+ Nov. 25.

While Bacon makes his first solo appearance on a songs ranking this week, this isn’t his first-ever appearance on any Billboard chart. He charted for the first time in 2014 with his band The Bacon Brothers — his folk-rock group with his brother, Michael. The group’s album 36 Cents reached No. 19 on the Americana/Folk Albums chart and No. 42 on Heatseekers Albums.

As for the Old 97’s, the Rhett Miller-fronted group has scored success on Billboard’s charts since 1999. The band has sent seven albums onto the Billboard 200, climbing as high as No. 30 with Most Messed Up in 2014. The act has also logged three top 10s on Adult Alternative Airplay: “Murder (Or a Heart Attack)” (No. 6 peak in 1999), “Nineteen” (No. 9, 1999) and “King of All the World” (No. 8, 2001).

Old 97’s also debut one additional song from the Guardians special: “I Don’t Know What Christmas Is” opens at No. 4 on Holiday Digital Song Sales, No. 5 on Rock Digital Song Sales and No. 15 on Digital Song Sales.

The Guardians franchise has generated prior action on Billboard charts, thanks to its array of classic hits from the 1960s and ’70s. The soundtrack to the first film, Guardians of the Galaxy: Awesome Mix Vol. 1, spent two weeks at No. 1 on the Billboard 200 in 2014, while the sequel’s soundtrack, Guardians of the Galaxy Vol. 2: Awesome Mix Vol. 2, reached No. 4 in 2017. The first film’s soundtrack has also spent 141 weeks in the top 10 of the Vinyl Albums chart (including one at No. 1), the second-longest run after The Beatles’ Abbey Road (263).

Welcome to The Contenders, a midweek column that looks at artists aiming for the top of the Billboard charts, and the strategies behind their efforts. This week (for the upcoming Billboard 200 albums chart dated Dec. 17): As holiday titles and heavy hitters vie for the top of the December charts, new albums from a star hip-hop producer and a couple of K-pop hitmakers join in the merriment.  

Metro Boomin, Heroes & Villains (Boominati Worldwide/Republic): You might have thought the big album releases were starting to wind down for 2022, but Metro Boomin begs to differ. The Atlanta-via-St. Louis producer has been one of the biggest behind-the-scenes names in hip-hop for a decade, and new album Heroes & Villains shows off his Rolodex, with enough star collaborators — Future, Young Thug, Travis Scott, The Weeknd, 21 Savage, Gunna, even narrator Morgan Freeman — to justify an accompanying short film.  

After dominating streaming charts on Spotify and Apple Music over the weekend, the set appears due for a big debut on the Billboard 200 — perhaps even one to challenge the producer’s Republic label-mate Taylor Swift and her five-week No. 1 Midnights for the chart’s top spot. (He hit No. 1 in 2020, with 21 Savage full-length team up Savage Mode II .) Though its consumption is mostly digital, Metro did release a CD version of Heroes & Villains to select physical retailers — and also debuted a deluxe “Heroes Version” of the album to streamers and digital retail on Monday, adding instrumental versions of each track. 

RM, Indigo (Big Hit): Singer/songwriter/rapper RM released his solo debut, Indigo, on Friday, a varied album that features marquee R&B names Erykah Badu and Anderson .Paak, as well as veteran Korean hitmakers Tablo and Park Ji-yoon. BTS, the world-conquering group which RM previously achieved stardom with, scored five No. 1 albums over the past half-decade, from 2018’s Love Yourself: Tear  to this June’s Proof. 

His chart bow for Indigo this week will have to come without help from a physical release, as the set’s CD packages — which often move big numbers for Korea’s biggest pop acts — are not due until Dec. 16. Earlier this year, RM’s bandmate J-Hope entered the Billboard 200 at No. 17 with his own solo album debut Jack in the Box, also only from the support of a streaming and digital retail version of his album. (Jack has yet to be released on CD in the U.S.)

ITZY, Cheshire (JYP Entertainment/Dreamus/Republic): Korean pop quintet ITZY hit the Billboard 200’s top 10 for the first time in July with their sixth EP Checkmate. This week, they aim to return to the top tier with sixth EP, Cheshire, featuring advance English-language single “Boys Like You” — though technically it’s already in its second week of release, since the streaming and digital retail version of the set dropped last Wednesday (Nov. 30). 

Cheshire’s chart performance will depend mostly on sales of its physical editions, which went on sale Friday. Like many K-pop releases, the CD came out in collectible deluxe packages (13 total, including versions exclusive to Barnes & Noble, Target and the group’s official webstore), each with a standard set of items and randomized elements (such as photocards and a poster). 

IN THE MIX 

Backstreet Boys, A Very Backstreet Christmas (K-BAHN/BMG): The classic boy band’s first holiday set made its Billboard 200 debut back in October, but should surge on the chart this week following its Dec. 2 vinyl debut (and the approaching season). It’s only reached No. 17 so far, making this week its best chance of keeping alive Backstreet Boys‘ double-digit streak of consecutive top 10 albums.  

Arcangel, Sr. Santos (Rimas Entertainment): Veteran reggaetón and Latin trap hitmaker Arcangel made a splashy return last Wednesday alongside perhaps the biggest male pop star on the planet with the Bad Bunny collab “La Jumpa.” That song should give Sr. Santos, the single’s 18-track parent album released on Friday — which also features appearances from Myke Towers, De La Ghetto and Bizarrap — a nice head start in consumption for this week. 

Ivan Cornejo, Dañado (Manzana Records): Regional Mexican star Ivan Cornejo charted at No. 149 on the Billboard 200 in June with sophomore set Dañado, which has since climbed as high as No. 64 thanks to its stellar streaming performance. The seven-track mini-album received a deluxe reissue on Friday, with three new bonus tracks, which should give it a big boost from its current chart perch of No. 145.   

Music featured in the first season of Netflix’s new series Wednesday dot the Billboard charts dated Dec. 10 following the show’s Nov. 23 premiere.

That even includes a No. 1, as The Cramps’ “Goo Goo Muck” rules the Alternative Digital Song Sales list on the strength of 2,000 downloads in the Nov. 25-Dec. 1 tracking week, according to Luminate, up 2,229% from a negligible amount the previous period.

The ruler marks The Cramps’ first No. 1 on a Billboard chart. The rockers, active for three decades until the death of singer Lux Interior in 2009, are often cited as inspirations partially in the psychobilly genre but had never found much chart success, scoring a lone appearance on the Alternative Airplay tally in 1990 with the No. 10-peaking “Bikini Girls With Machine Guns.”

“Muck,” which can be heard on the band’s 1981 sophomore effort Psychedelic Jungle and is a cover of a tune initially recorded by Ronnie Cook and the Gaylads in the ‘60s, prominently features in an episode-four dance scene featuring Wednesday’s titular character, portrayed by Jenna Ortega.

In addition to its bump in sales, “Muck” earned 817,000 on-demand U.S. streams Nov. 25-Dec. 1, a bound of 2,705% from 29,000 Nov. 18-24.

While “Muck” is the only song featured in Wednesday to top a Billboard chart dated Dec. 10, it wasn’t the most streamed. That distinction belongs to Beach House’s 2015 offering “Space Song,” heard in episode three. The song earned 4 million streams, a 41% boost. Those metrics launch it onto Alternative Streaming Songs at No. 15, a new peak for the song and its first appearance since January and February of 2022, when it charted due to TikTok virality, and it also starts at Nos. 14, 16 and 20 on Hot Alternative Songs, Hot Rock Songs and Hot Rock & Alternative Songs, respectively, where older songs are able to appear if in the top half of chart points and with a meaningful reason for their re-entry.

Other major gains include those for Apocalyptica’s cover of Metallica’s “Nothing Else Matters,” which jumped 817% to 1,000 downloads and 506% to 166,000 streams; Edith Piaf’s “Non Je Ne Regrette Rien (179,000 streams, up 67%); and Roy Orbison’s “In Dreams” (168,000 streams, up 55%).

And though it’s not heard in the series per se, Lady Gaga’s “Bloody Mary” has received tangential gains due to TikTok edits of the aforementioned “Goo Goo Muck” dance scene in which creators replace the song with Gaga’s 2011 Born This Way cut.

From Nov. 25-Dec. 1, “Mary” earned 2 million streams, a 411% increase.

BRISBANE, Australia — Australian dance music fans have two new charts to add to their weekly diet.
The fresh surveys, the Australian Dance Singles Chart, a countdown of the top 20 dance singles, and the Australian Dance Albums Chart, a tally of the top 10 dance albums, will publish each Friday starting this week.  

Both charts will sit alongside ARIA’s other Australia-focused albums and singles charts, which include Australian Hip- Hop/R&B, Country, and Top 20 Singles and Albums, and more.

“ARIA is determined to find ways to showcase Australian music from all who create it, this is another step in the right direction as we endeavor to provide a transparent scoreboard for our industry and music fans alike to understand how local music is being streamed, purchased and engaged with,” explains the trade body’s CEO Annabelle Herd.

ARIA’s suite of charts are calculated with a combination of streams, physical and digital sales, with the exception of the ARIA Club Chart, which is based on reports by working DJs across Australia. None of those “official” tallies collate radio airplay information.

“It makes total sense to have Australian Dance Charts in addition to our regular Dance Charts, you only have to look at this year’s ARIA Awards featuring RĂŒfĂŒs Du Sol, Luude and Flume to see that dance music plays such an important role in Australian music culture,” comments Herd.

“It represents many of our most-loved acts across the globe and countless DJs filling clubs across the country on a nightly basis. We’re determined to work with the dance music community to find ways to ensure established and up-and-coming producers are recognized for their contribution to this culture, and provide a greater spotlight as nightlife across Australia continues to recover.”

In June, the labels body and charts compiler rolled out its first new survey in three years — the New Release Chart, a weekly examination of the most popular new local and international singles on a four-month cycle. Earlier in the year, ARIA’s main charts began incorporating data on music consumption from YouTube.

Next year, 2023, marks the 40th anniversary of the ARIA Singles and Albums Charts.

Congolese-French rapper and singer-songwriter Gims earns his first top 10 through a first entry on any Billboard Latin chart as “Arhbo (Music From The FIFA World Cup Qatar 2022),” with Ozuna, jumps 29-8 on the Latin Airplay chart (dated Dec. 10). The track is also Gims’ first chart entry overall.

Arhbo is a Qatari slang word for “welcome” which derives from the Arabic word “marhaba;” basically the simplest type of greeting. The song, produced by RedOne, is the second single from the FIFA World Cup Qatar 2022 official soundtrack. The World Cup began on Nov. 20 and runs through Dec. 18.

“Arhbo” was released Aug. 19 via 2101 Records/ Katara Studios/UnitedMasters. Thanks to its 29-8 surge –in its fourth week– on Latin Airplay, it takes the Greatest Gainer of the week with a lofty 72% gain in audience impressions, to 6.4 million, earned in the U.S. in the week ending Dec. 4, according to Luminate.

Watch the “Arhbo” video here.

The singles also marks the first top 10 and chart entry on Latin Airplay for Middle Eastern Katara Studios and United Masters. Meanwhile, producer RedOne’s 2101 Records previously an imprint under Republic Records, scored a No. 22 high through Jennifer Lopez’s “Live It Up,” featuring Pitbull, in 2013.

Ozuna collects his 36th top 10, still the fourth-most among all acts since the chart launched in 1994. Here’s the scoreboard:

46, Daddy Yankee41, Enrique Iglesias40, J Balvin36, Ozuna34, Shakira30, Marc Anthony28, Ricky Martin,27, Marco Antonio Solis27, Wisin27, Wisin & Yandel

Further, Ozuna’s new top 10 arrives after he secured his second week atop Latin Airplay with “Monotonía,” with Shakira, in the week prior.

There’s no place like the Billboard charts for the holiday music season, and as always, our Holiday 100 is back and keeping track of the biggest seasonal hits of each week through the New Year.
This year, it’s once again the usual suspects looking to steal the Christmas No. 1 — Mariah Carey‘s “All I Want for Christmas Is You” is on top this week (chart dated Dec. 10), followed by Brenda Lee‘s “Rockin’ Around the Christmas Tree” and Bobby Helms‘ “Jingle Bell Rock.” They’re also the three highest of the six holiday songs in the top 10 of this week’s Billboard Hot 100, though none of them have yet captured pole position, which still belongs to Taylor Swift’s secular smash “Anti-Hero.”

When, if at all, will one of the holiday perennials take over on the Hot 100? And why do newer songs never seem to be able to grow in momentum on the chart? Billboard staffers answer these questions and more below.

1. As it always does this time of year, “All I Want for Christmas Is You” is knocking on the door of the Hot 100’s top spot, moving from No. 5 to No. 2 on the chart this week. But it has a formidable hit blocking its path this time, with Taylor Swift’s six-week No. 1, “Anti-Hero.” Do you think it will depose “Anti-Hero” next week? If not, how long do you think it will take — if it does so at all?

Katie Atkinson: Oh, it’s going back to No. 1, dahling, and I think next week is the week. The current tracking period is the first full week of December, and Christmas music listeners have made the full transition. Time to get out the garland and ornaments for the Hot 100, because its most treasured Christmas star is about to be placed back on top.

Jason Lipshutz: Yeah, next week feels like the week — and that’s an unscientific read on the situation, but the “Anti-Hero”/“All I Want for Christmas Is You” battle reminds me of last year’s showdown between Mariah Carey’s holiday juggernaut and Adele’s multi-week chart-topper “Easy on Me.” “Christmas” took a few weeks into December to dislodge “Easy” during its run, and I’d surmise that it will do the same to “Anti-Hero” starting next week.

Glenn Rowley: “Anti-Hero” might be able to hold onto the crown for one more week but judging by her song’s massive gains this week, it’s clear Mariah just wants the No. 1 for her own (again). And as Christmas gets closer, the festive fervor will only go from high-pitched to full-blown whistle tone. Though I admit there’s an alternate reality in my daydreaming where Taylor’s Midnights smash holds off “ All I Want for Christmas Is You” by becoming the definitive anthem to soundtrack a Newsies-style antitrust revolution by the Swifties, a la “Seize the Day.” 

Andrew Unterberger: Mariah Carey is certainly looming, but I wouldn’t count out some last-minute sales/discounts/remixes emerging from Swift late in the week to help get her the edge she needs here. She’s done it successfully a couple times during the “Anti-Hero” run already, and she’s likely extra motivated this week, as the song is just one week away from tying “Blank Space” as her longest-running Hot 100 No. 1 to date. Once Mariah grabs the top spot, it might be close to a month before she gives it back — and who knows what else will emerge as competition in the meantime — so Swift is gonna want every week she can get for “Anti-Hero” before then. But within 2-3 weeks, it’ll be out of her hands, and Carey’s reign will commence regardless.

Christine Werthman: Swift’s hit has staying power, but Carey’s is coming like a freight train — or perhaps the Polar Express. “Anti-Hero” has been the No. 1 for the last six weeks, but it is dropping in streams, while “Christmas” is on the rise. In fact, Carey’s juggernaut is currently the most-streamed song in the U.S., and as the days tick by to Dec. 25, Carey’s smash will continue to climb, bludgeoning all that stand in its way with a stocking full of holiday cheer. It will be No. 1 soon enough. 

2. While Mariah leads on the Holiday 100, the usual challengers appear just below her in Brenda Lee’s “Rockin’ Around the Christmas Tree” and Bobby Helms’ “Jingle Bell Rock.” If you had to bet on this top three either being the same for each of the next five holiday seasons, or being disrupted at some point — either by an order switch or a different song — which way would you wager?

Katie Atkinson: I’ve always wanted “Rockin’ Around the Christmas Tree” to score even one week at No. 1 on the Hot 100, where it’s so far peaked at No. 2, but Mariah’s merry monster is a hard one to overcome. Lee recorded the song at just 13 years old and is a spry 77 today, and it would be so sweet for her to get her poinsettias while she’s still with us. But as a betting woman, I think that top three will remain in the same order for the next five yuletide seasons.

Jason Lipshutz: I’d guess that some time in the next half-decade, one of the two golden oldies (more likely “Jingle Bell Rock”) gets swapped out with something more recent, while the others persist as part of the big three. That’s not to say that either one will fall off entirely, but betting on “Rockin’ Around the Christmas Tree” and “Jingle Bell Rock” to stay this locked into the big three, when there’s so much competition for those spots, seems improbable. Of course, “All I Want for Christmas Is You” isn’t going anywhere — that’s going to remain one of the three highest-charting holiday songs each year for the next decade, if not just stay at No. 1 that whole time.

Glenn Rowley: The short answer is a holly jolly nope. At this point, the Holiday 100 feels a bit more like Groundhog’s Day than anything else, and the longer these three tracks dominate the season, the more entrenched they seem to become. 

Andrew Unterberger: Betting on stasis with the Holiday 100 is usually the smart play, so I’ll say yes, that’s the top three for the next half-decade. That said, you never know what can pop from out of nowhere these days — and even if a new song isn’t yet powerful enough to run with the big reindeer on an annual basis, it can post a big-enough debut to at least elbow its way in with them temporarily, like Ariana Grande’s “Santa Tell Me” did last decade.

Christine Werthman: Carey will remain No. 1 for the next five holiday seasons. Looking back on this week from 2017 until now, Brenda Lee held the No. 2 spot five out of six times, bumped to No. 3 only once by Andy Williams in 2018. Bobby Helms could be the wild card, as he was absent from the top three in 2018 and 2019. I’d bet that Carey and Lee will hold fast but that the third spot will be up for grabs for a new old song over the next few years. 

3. Though Mariah’s Christmas classic will be celebrating its 30th birthday in a couple years, there are still only three songs newer than it in the top 40 of this week’s Holiday 100 – Kelly Clarkson’s “Underneath the Tree” (#10), Ariana Grande’s “Santa Tell Me” (#14) and Justin Bieber’s “Mistletoe” (#40). Why do you think it remains so hard for newer songs — even “newer” songs that are now a decade or two old themselves — to break into the Christmas canon? Do you see it getting easier anytime in the near or even distant future?

Katie Atkinson: There are a lot of people who assume “All I Want” is a Christmas standard, the way it recalls Phil Spector’s 1960s hits for The Ronettes or Darlene Love, and I think that classic sound is what people are yearning for in their holiday listening. The next-closest new song, “Underneath the Tree,” plays the exact same card. So while a few contemporary Christmas songs will break through here and there (*NSYNC’s “Merry Christmas, Happy Holidays” comes to mind as one that burned bright and then fizzled out with the boy-band era), the ones that have longevity are the ones that bring the most Noel nostalgia.

Jason Lipshutz: The magic of holiday songs is in their familiarity — the way we trot them out for a few weeks each year, recognize the time-honored melodies and associate them with a special season. Understandably, that canon is difficult to change, or even increase with new material. There’s no doubt that some new holiday songs will eventually earn that nostalgic glow as more years pass — “Underneath the Tree” feels like a likely candidate to keep growing each year — but the process is slow for a reason, and I doubt it’s one that radically evolves in the coming years.

Glenn Rowley: It’s crazy to think that all three of those “newer” songs are 8-10 years old at this point. I mean, Kelly’s even given us a second (stellar!) Christmas album since she released “Underneath the Tree.” Much like a too-rich cup of cocoa, the biggest obstacle to storming the modern Christmas songbook could be over-saturation. Because from the moment Mariah declares, ‘It’s time,’ there’s a limited number of days to cram in all the holiday music you can handle. And would you rather go for something cozy and familiar or something new?

Andrew Unterberger: My working theory with this is that music fans don’t really ever seek out their own holiday music when they’re young — it’s just something that’s passively in their background of their lives for 1-2 months a year, with selections usually made by folks decades their senior. So everyone just grows up with their parents’ holiday music, and they never really even think twice about it — and when, decades later, it’s their own turn to decide what holiday music is going to get played, that’s still what they sentimentally default to. It takes a truly extraordinary new Christmas song to be as satisfying as that type of nostalgia, and that’s why you only get a handful a decade that prove to have any real staying power.

Christine Werthman: Christmas is a season for nostalgia. It’s not like Halloween, where costumes fluctuate depending on the hottest movie or meme of the moment. In fact, if Christmas were a Halloween costume, it would be a ghost — every single year. Familiarity is key for Christmas success, and I suspect the old guard will be holding down the prime slots on the Holiday 100 for many years to come. 

4. We often talk about the possibility of newer songs rising on the Holiday 100, but in truth, it seems like older songs have as good a chance of catching a second wind — particularly in 2022, when new hits can come from any time. Is there a song on this week’s chart from earlier than Mariah Carey’s “Christmas” that you might be looking at as a contender to rise in the holiday rankings in the years to come?

Katie Atkinson: Jose Feliciano’s “Feliz Navidad” peaked at No. 3 on the Holiday 100 back in 2012, but it hasn’t cracked that top three in a while. I think it should rightfully work its way back up, just as Bad Bunny is also bringing Spanish-language hits to the top of our charts. I also think one of my personal favorites, The Ronettes’ “Sleigh Ride,” should finally crack the Holiday 100 top five for the first time (it’s so far peaked at No. 8) because it’s just so fun and festive. Climb aboard the sleigh, people!

Jason Lipshutz: Maybe Wham!’s “Last Christmas” never grows to chart-dominating stature, but I could see that song getting bigger each year, as a holiday song that’s fiercely loved and also ripe for some sort of viral revival. As the years wear on, I could see “Last Christmas” usurping “Rockin’ Around The Christmas Tree” or “Jingle Bell Rock” as one of the three biggest holiday songs of the year, and creating a sort of balance in the sound and thematic scope of the primary holiday trio.

Glenn Rowley: I’m always a proponent of Wham!’s “Last Christmas” getting a second or third (or, you know, thirty-eighth) wind during the month of December. Last year, it reached a new peak of No. 7 on the Hot 100 and this week it’s already sitting at No. 6 on the Holiday tally. Maybe the right sync or TikTok trend can push it even higher in Christmases to come.

Andrew Unterberger: Gonna go with “Linus and Lucy.” It’s maybe not the radio-friendliest of the Holiday perennials, with its lack of lyrics and jarring mid-song shifts in tempo and melody, but it’s beloved by every new generation since A Charlie Brown Christmas‘ 1965 debut, and its association with that classic holiday special gives it extra meme potential. Also, the Vince Guaraldi Trio’s entire soundtrack rises higher on the Billboard 200 albums chart each year — it hit the top 10 for the first time last year — so that momentum might carry over to the Hot 100 before too long.

Christine Werthman: Wham!’s “Last Christmas” is currently No. 6, but it was in the top three around this time in 2019. I’d put my chips on that one to sneak its way up the chart in the future, especially if it gets featured in a holiday movie, a la the “All I Want for Christmas Is You” moment in Love Actually. 

5. Let’s say Adele, Taylor Swift, BeyoncĂ©, Bad Bunny and Drake each released a brand-new solo Christmas song on Friday. Which one do you think would be the biggest front-runner for the Holiday 100 No. 1?

Katie Atkinson: I’m going Adele, 100%. Just like her bombastic vocals were a no-brainer for a James Bond theme song 10 years ago, her warm, rich delivery would be tailor-made for a Christmas classic. I’m thinking something more in the understated, bittersweet vein of Judy Garland’s “Have Yourself a Merry Little Christmas” or Nat King Cole’s “The Christmas Song” than the poppy Mariah route – though a jingly redo of “Rumour Has It” all about Santa Claus could be cute too.

Jason Lipshutz: Give the edge to Adele here — she’s not as prolific as Bad Bunny or Drake, is more of a reliable Hot 100 chart-topper than BeyoncĂ©, and unlike Taylor Swift, has never released a Christmas song. An Adele Christmas single would be a special release from a chart superstar
 who also happens to have the type of overwhelming vocal power that a holiday song typically requires. However it sounds, it would have a great shot at No. 1.

Glenn Rowley: Regardless of the song, there’s no stopping Adele the moment she decides to drop an original holiday tune (an eggnog-fueled follow-up to “I Drink Wine,” perhaps?).

Andrew Unterberger: It’s probably Adele — but don’t count out Bad Bunny’s ability to surprise, or Taylor Swift’s will to win.

Christine Werthman: Adele all the way. She has a timeless voice, she transcends generations, and she would likely make something that is contemporary enough for young listeners but classic enough for an older audience to throw into the rotation of holiday standards. As far as knocking out “All I Want for Christmas Is You” from the top spot, though, I’d still give Mariah 70/30 odds to win the No. 1.

Related Images:

Multiple songs from RM’s new album Indigo premiere on Billboard’s Hot Trending Songs chart dated Dec. 10, as fans discussed the tracklist and the album’s teasers prior to its Dec. 2 release.

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See latest videos, charts and news

Billboard’s Hot Trending charts, powered by Twitter and sponsored by Xfinity Mobile, track global music-related trends and conversations in real-time across Twitter, viewable over either the last 24 hours or past seven days. A weekly, 20-position version of the chart, covering activity from Friday through Thursday of each week, posts alongside Billboard’s other weekly charts on Billboard.com each Tuesday.

RM claims the entire top three, led by “No.2,” with Park Ji-yoon, at No. 1. It’s followed by “Forg_tful,” with Kim Sa-wol, and “Lonely” at Nos. 2 and 3, respectively.

The tracklist for the album was announced Nov. 24, spurring discussion on Twitter before the songs had even been heard.

Further appearances are possible for the 10-song tracklist following the album’s first full week of release.

The highest non-RM appearance belongs to Arcangel and Bad Bunny, whose “La Jumpa” starts at No. 4. The high-profile collaboration was released on Nov. 30, and even after just two days of tracking toward the Dec. 10-dated Billboard charts, the song also debuts at No. 20 on the Hot Latin Songs list.

The remainder of the top 10 also features songs from 1st.One, Metallica, J-Hope and Stray Kids.

Keep visiting Billboard.com for the constantly evolving Hot Trending Songs rankings, and check in each Tuesday for the latest weekly chart.

With so much time between the tours of 2019 to early 2020 and late 2021-22, new arena stars were minted in the in-between, ready to play the biggest stages of their career despite a possibly limited tour history. Bad Bunny, Billie Eilish and Dua Lipa transferred the goodwill of chart-topping hits into juiced-up arena tours, now suddenly reliable for sell-outs due to the ghost of success during the pandemic.

Also transforming from a club-level up-and-comer to a global touring powerhouse is Rosalía. The Spanish singer-songwriter’s Motomami World Tour — named after her album released in March of this year — earned $28.1 million and sold 343,000 tickets across three continents, according to figures reported to Billboard Boxscore. With more dates to come, she lands at No. 7 on the year-end Top Latin Tours chart.

Before Rosalía became an arena-conquering superstar, she was playing scattered headline shows in clubs in North America. Her April 2019 shows at New York’s Webster Hall, San Francisco’s Regency Center Grand Ballroom and L.A.’s The Mayan all sold less than 1,500 tickets while she built her base via festival sets around the world. She finished that year with theater shows in London and Paris, and a few arena shows in Barcelona and Madrid.

A sludge of one-off singles, award show performances, and ultimately, the release of 2022’s Motomami helped fill the gap between tours. Since then, she and her team scaled her live business.

Rosalía’s 2019 concerts in Barcelona and Madrid transformed into a 12-date tour in her native Spain. Those shows grossed $13.4 million and sold 154,000 tickets.

Performances at the ‘19 Argentina and Chile installments of Lollapalooza became 11 shows on the Motomami World Tour, adding $7.5 million and 114,000 tickets.

And her North American club shows ballooned into 13 shows in large theaters, earning $7.3 million from 75,000 tickets.

The Motomami World Tour has played 36 shows so far, already a fuller run than 2019’s El Mal Querer Tour. And with increased venue capacity and ticket prices, Rosalía’s pace is that of a completely different artist than her pre-pandemic touring. Her North American shows in ’19 averaged $52,000 and 1,369 tickets. Fast forward to her recent domestic leg, and she’s earning $558,445 and 5,781 tickets – more than 10 times her last tour.

The Motomami World Tour has a string of nine European arena dates left before the end of the year. Even without those grosses or attendance totals reported yet, the venues and routing is already outsized compared to the pair of major-market shows in Europe in 2019.

Rosalía joins the aforementioned club of acts that include Bad Bunny, Eilish, Lipa and more, who have leveled up to arenas between tours separated by the pandemic. But unlike those acts’ top 10 albums (on the Billboard 200) and songs (on the Billboard Hot 100), Rosalía’s crossover success remains relatively limited. She has spent one week in the top 40 of the Billboard 200 and has yet to crack the region on the Hot 100.

Elsewhere, RosalĂ­a has received widespread critical acclaim for Motomami (as with her previous albums), engaged on TikTok, and built a name as one of the most exciting new live acts of the last decade. As the monogenre continues to fracture, it only makes sense that this pop-Latin-electro Spanish-singing hybrid artist is one of the most vital touring acts of the year.

Taylor Swift logs a record-extending 56th week at No. 1 on the Billboard Artist 100 chart (dated Dec. 10), continuing her run as the top musical act in the United States.
Her reign can largely be attributed to the continued success of her album Midnights, which logs a fifth week at No. 1 on the Billboard 200 chart with 151,000 equivalent album units earned in the Nov. 25-Dec. 1 tracking week, according to Luminate. The set debuted atop the Nov. 5 chart with 1.578 million units, the largest one-week total since the opening frame of Adele’s 25 in December 2015 (3.482 million).

Swift scores nine albums on the latest Billboard 200, the most among all acts. After Midnights, she appears with Folklore (No. 15), Red (Taylor’s Version) (No. 22), Lover (No. 29), Evermore (No. 36), 1989 (No. 51), Fearless (Taylor’s Version) (No. 68), Reputation (No. 88), and Speak Now (No. 175).

Swift also lands nine songs from Midnights on the Billboard Hot 100, led by “Anti-Hero,” which tallies a sixth week at No. 1.

Here’s a recap of Swift’s songs on the latest, Dec. 10-dated Hot 100. After “Anti-Hero,” she charts with new radio single “Lavender Haze,” which pushes 36-26 on the Adult Pop Airplay chart and 31-28 on Pop Airplay. “Anti-Hero” leads the former tally for a second week and rises to No. 2 on the latter.

Rank, Title:

No. 1, “Anti-Hero”

No. 52, “Lavender Haze”

No. 70, “Bejeweled”

No. 71, “Midnight Rain”

No. 73, “Maroon”

No. 78, “Karma”

No. 80, “You’re On Your Own, Kid”

No. 83, “Snow on the Beach,” feat. Lana Del Rey

No. 97, “Vigilante Shit”

Swift has now spent six weeks at No. 1 on the Artist 100 in 2022, tying The Weeknd for the second-most after Bad Bunny (eight).

Elsewhere on the Artist 100, Michael BublĂ© bounds 14-7 largely powered by his 2011 album Christmas. The set jumps 10-4 on the Billboard 200 (47,000 units; up 55%), while its track “It’s Beginning to Look a Lot Like Christmas,” his version of Meredith Willson’s 1951 classic, re-enters the Hot 100 at No. 29.

Plus, Fleetwood Mac vaults 41-8 on the Artist 100, having made gains following the death of member Christine McVie on Nov. 30. The group’s seminal 1977 album Rumours climbs 32-20 on the Billboard 200 (23,000 units; up 25%), while the group’s Greatest Hits – with half its 16 songs written by McVie – re-enters at No. 98. The band’s classics “Everywhere” (from 1987’s Tango in the Night) and “Songbird” (from Rumours) — both written and sung by McVie — also rank on the Digital Song Sales chart at Nos. 14 (up from No. 38) and 26 (debut), respectively. The former had been surging thanks to its synch in a Chevrolet commercial.

The Artist 100 measures artist activity across key metrics of music consumption, blending album and track sales, radio airplay and streaming to provide a weekly multi-dimensional ranking of artist popularity.