Chart Beat
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Tiësto takes top Streaming and Sales Gainer honors on Billboard‘s multimetric Hot Dance/Electronic Songs chart (dated Feb. 4) with “10:35,” featuring Tate McRae. The collab climbs from No. 6 to No. 5, returning to its highest rank, following the Jan. 19 release of its Joel Corry remix. The track earned 5.8 million official U.S. streams, up 23%, and sold 1,400 downloads, up 15%, while also drawing 3 million radio airplay audience impressions, up 53%, in the Jan. 20-26 tracking week, according to Luminate.
“10:35,” which debuted at No. 8 on the Nov. 19 tally and has remained in the top 10 since, is Tiësto’s eighth top 10, among 36 career entries (dating to the chart’s 2013 inception). It’s McRae’s second, after “You,” with Regard and Troye Sivan, reigned for eight weeks in June-August 2021.
Concurrently, “10:35” improves on Dance/Electronic Streaming Songs (5-3) and Dance/Electronic Digital Song Sales (5-4). Additionally, “10:35” clocks in at No. 72 on the all-genre Billboard Hot 100, debuting as Tiësto’s seventh song to make the survey and McRae’s sixth.
Continuing with Hot Dance/Electronic Songs, ILLENIUM and Nina Nesbitt notch the list’s highest entrance with “Luv Me a Little,” at No. 11. Now with 46 career entries, ILLENIUM ties Calvin Harris for the sixth-most; David Guetta leads with 73, followed by Kygo (61), Marshmello (54), The Chainsmokers (52) and Martin Garrix (51).
“Luv,” Nesbitt’s first showing on the chart, starts with 1.8 million streams. It’s from ILLENIUM’s self-titled album, due April 28.
Shifting to the Dance/Mix Show Airplay chart, Anabel Englund cruises to her eighth top 10, in as many tries, with “Need Me Right” (11-5). Since she first advanced to the top 10 with “So Hot” (12-7, May 2, 2020; the track ultimately peaked at No. 2), Englund matches Corry and Guetta for the most among all acts. Englund has two No. 1s, “Picture Us” (October 2020) and “Underwater,” with MK (April 2021).
“Need” is scoring core-dance airplay on Music Choice’s Dance/EDM channel, KMVQ-HD2 San Francisco and WZFL (Revolution 93.5, All Things Dance) Miami, among other signals. (The Dance/Mix Show Airplay chart measures radio airplay on a select group of full-time dance stations, along with plays during mix shows on around 70 top 40-formatted reporters.)
Meanwhile, Corry collects his ninth top 10 on Dance/Mix Show Airplay and Tom Grennan grabs his second with “Lionheart (Fearless)” (14-8). The song soars with notable core-dance airplay on SiriusXM’s BPM, Music Choice’s Dance/EDM and KNHC (C89.5) Seattle.
Trippie Redd banks his fourth consecutive No. 1 album on Billboard’s Top Rap Albums chart as Mansion Musik debuts in the top slot of the list dated Feb. 4. The set, released on Jan. 20 via 1400/Ten Thousand Projects/Capitol Records, opens with 56,000 equivalent album units earned in the U.S. in the week ending Jan. 26, according to Luminate.
Of the 56,000 unit start, 50,000 units derive from streaming-equivalent album units, representing 68.1 million official on-demand U.S. streams of the album’s songs. 5,000 of the remaining units are from traditional album sales, and the residual balance of 1,000 units comes from track-equivalent album units. (One unit equals the following levels of consumption: one album sale, 10 individual tracks sold from an album, or 3,750 ad-supported or 1,250 paid/subscription on-demand official audio and video streams for a song on the album.)
Mansion Musik gives Trippie Redd his fifth total champ on the Top Rap Albums chart, and, as mentioned above, marks his fourth leader in a row. Here’s a full recap of all seven of his No. 1s on the chart – all of which have ruled for one week:
A Love Letter to You 3, Nov. 24, 2018
A Love Letter to You 4, Dec. 7, 2019
Pegasus, Nov. 14, 2020
Trip at Knight, Nov. 4, 2021
Mansion Musik, Feb. 4, 2023
In addition to the five chart-toppers, the 23-year-old rapper has three more albums that have made the list: A Love Letter to You 2 reached at No. 14 in October 2017, Life’s a Trip achieved a No. 4 best in August 2018 and ! debuted and peaked in the runner-up spot in August 2019.
Elsewhere, Mansion Musik starts at No. 2 on the Top R&B/Hip-Hop Albums chart, behind only SZA’s blockbuster SOS, and at No. 3 on the all-genre Billboard 200, trailing SOS and Taylor Swift’s Midnights.
As Mansion Musik arrives, four of its songs land on the Hot R&B/Hip-Hop Songs chart. “Knight Crawler,” with Juice WRLD, leads the pack at No. 19 and was the project’s most streamed song of the week. “Crawler” registered 10 million official U.S. streams in the week and launched at No. 4 on the Rap Streaming Songs chart.
After “Crawler,” the next highest placement on Hot R&B/Hip-Hop Songs belongs to “Fully Loaded,” with Future and Lil Baby, which starts at No. 33. The Travis Scott collab “Krzy Train” starts at No. 35, while a second teamup with Lil Baby, “Dark Brotherhood,” enters at No. 46.
Though it’s only January, the third episode of HBO’s post-apocalyptic survival series The Last of Us is already certain to end 2023 as one of the most acclaimed TV episodes of the year. The tearjerking episode, which focused on a decades-spanning love story between two new characters, has been rapturously received in nearly all corners of the media and the internet — and has also led to another streaming success story, this time for Rock and Roll Hall of Famer Linda Ronstadt.
Ronstadt’s devastating ballad “Long, Long Time,” which served as her breakout solo hit on the Billboard Hot 100 when it reached No. 25 in Oct. 1970, is showcased multiple times in the episode. It appears first in renditions by actors Murray Bartlett and Nick Offerman, when they find the sheet music with an old piano owned by Offerman’s character, then as Ronstadt’s original version at the end of the episode, when the show’s main characters (played by Pedro Pascal and Bella Ramsey) find a cassette with the song in a car formerly belonging to Offerman’s character.
Unsurprisingly, the success of the show (and of the episode in particular, also titled “Long, Long Time”) has led to the song taking off in both streaming and sales. From Jan. 28 (the day before the episode) to Jan. 30 (the day after), the song jumped from under 8,000 daily official on-demand U.S. streams to nearly 149,000, and from a negligible number of daily sales to over 1,500 — spikes of 1,776% and 13,782%, respectively, according to Luminate. It’s still a ways from re-charting on the Hot 100, but with its sales and streams still looking to be rising days after the episode’s premiere, it should be in contention for debuts on a couple of Billboard charts next week.
It’s not the first time The Last of Us has resulted in big gains for an older track: After Depeche Mode’s “Never Let Me Down Again” was featured as an ominous radio transmission at the end of the show’s first episode, the song rose 220.5% in daily streams. With “Long, Long Time” now experiencing even greater gains, it seems that The Last of Us is gonna be the show to watch for 2023 when it comes to generating high-profile synch moments with lucrative payoffs for the artists (or writers) involved.
Bizarrap and Shakira’s “Bzrp Music Sessions, Vol. 53” hit No. 1 on Billboard’s Latin Airplay chart (dated Feb. 4). Their in-studio diss track has now topped nine U.S. Billboard charts, including Latin Digital Song Sales, Latin Pop Digital Song Sales, Dance/Electronic Streaming Songs, Dance/Electronic Digital Song Sales, Hot Latin Songs, Latin Streaming Songs, Latin Pop Airplay, Latin Pop Streaming Songs, and now Latin Airplay.
“Bzrp Music Sessions, Vol. 53” advances 5-1 in its second week on Latin Airplay after a strong 35% gain in audience impressions, to 10 million, earned in the week ending Jan. 26, according to Luminate.
The new coronation extends Shakira’s record among women, with 18 No. 1s. Bizarrap clocks his second after “Vol. 52,” with Quevedo, reached the top of the chart last November where it remained for four weeks.
Shakira, meanwhile, replaces herself at No. 1 as “Vol. 53” sends “Monotonía,” with Ozuna, to No. 5, after six weeks in charge, the most since Daddy Yankee’s “Con Calma,” featuring Snow, dominated the tally for eight weeks in 2019. Notably, it’s the first time a woman replaces herself at No. 1 since the chart launched in 1994.
Plus, the last time an act replaced itself at No. 1 on Latin Airplay was Farruko when “Pepas” dethroned his featured turn on Enrique Iglesias’ “Me Pasé” in October 2021.
As mentioned, “Vol. 53” continues its winning streak across Billboard charts. It remains at No. 1 on Dance/Electronic Streaming Songs, Hot Latin Songs, Latin Pop Airplay, and Latin Streaming Songs and Latin Pop Streaming Songs for a second week, while on Latin Digital Song Sales and Latin Pop Digital Song Sales, the track holds atop for a third week.
Over on the all-genre Billboard Hot 100, the track dips 9-13. Further, it holds steady at No. 2 on both Billboard Global 200 and Global Excl. U.S. charts.
Beyoncé released Renaissance, her seventh solo studio album, in July 2022 to rapturous acclaim and No. 1 status on the Billboard 200 and, for lead single “Break My Soul,” No. 1 on the Billboard Hot 100. But unlike 2016’s Lemonade and 2013’s Beyoncé, there were no concerts and no televised performances — not even a music video.
But six months later, days ahead of a potentially pivotal Grammy ceremony (Feb. 5) where she’s the year’s leading nominee, Beyoncé has announced the Renaissance world tour. It’s bound to be one of the year’s biggest concert events, aiming to be her fourth tour to gross more than $200 million based on forecasts estimated by Billboard Boxscore. In fact, the tour could easily sail past the $275 million mark. The all-stadium trek is currently scheduled to play 41 shows in 10 countries from May 10 through September 27.
A Beyoncé tour used to be a given every couple of years, but the Renaissance world tour will launch seven years after her last solo outing, 2016’s The Formation World Tour. That was her first solo trek in stadiums, though neither the show’s stellar reviews nor fans’ insatiable demand hinted at her rookie status. The tour earned $256.1 million and sold 2.2 million tickets, according to figures reported to Billboard Boxscore, finishing atop Billboard’s year-end Top Tours chart.
In the years since, Beyoncé mounted On the Run II, her second stadium tour alongside Jay-Z following 2014’s On the Run. The stadium trek came close to Beyoncé’s solo high mark but finished with $253.5 million and 2.2 million tickets — coming within 1% of Formation’s gross and 3% of its attendance despite the doubled-up star-power. The strength of Beyoncé’s solo tour among her entire live history perhaps speaks to her unique draw as one of the century’s most singular live entertainers.
The Formation World Tour marked a 21% improvement upon the $212 million take of 2013-14’s The Mrs. Carter Show World Tour, which spanned 126 dates in arenas.
This summer’s Renaissance world tour was announced with 15 shows in Europe in May and June, followed by 26 shows in the U.S. and Canada.
That 41-show sum is slightly shorter than The Formation World Tour’s 49 and On the Run II Tour’s 48. But while Renaissance could trail her previous outings in cumulative gross because of a more compact schedule, that scenario is unlikely considering the industry’s plumped-up ticketing.
In efforts to redirect second-and-third-party ticket sales to the artist, dynamic pricing, platinum ticketing and fan-to-fan re-sale have sent grosses soaring in the post-pandemic era. Beyoncé’s 2016 and 2018 tours averaged $114 and $116 per ticket, but that number will likely be far closer to, if not more than, $200 in 2023.
And like with Billboard’s early projections for Taylor Swift and Madonna, Beyoncé’s initial routing announcement may just be the singer playing coy. Per the first announced round of shows, London is the only market with more than one show, while previous Beyoncé tours also doubled up in New York, Chicago, Paris, Houston and more. More dates could be announced in some of the routing’s open spaces due to expectedly high demand. As the routing stands at press time, there are often four or five days between shows, with long stretches between May 30 (London) and June 8 (Barcelona), and September 2 and 11 (Inglewood, Calif. and Vancouver).
The continental splits for Formation and OTR2 were similar to that of Renaissance, with slightly more than a third of the entire tour in Europe and the other 60-65% in North America. Grosses and attendance lined up, too — $86.9 million and 867,000 tickets in Europe on Formation and $87 million and 871,000 tickets on OTR2, versus $169.1 million and 1.4 million tickets in North America on Formation and $166.5 million and 1.3 million on OTR2.
Given her consistent sell-out stadium business and an expected 30%-plus lift on ticket prices, the Renaissance world tour could be earning $6.8-$7.5 million per show. At the low end of that projection, with no additional shows, total gross would be heading for a personal-best $275 million. With just a few extra shows, at the top of that range, she’d notch her first $300 million tour.
Across her career, Beyoncé has grossed $767.3 million and sold 8.9 million tickets across 375 shows, including those with Jay-Z and the Verizon Ladies First Tour, a co-headline run with Missy Elliott and Alicia Keys in 2004. That means that the Renaissance world tour is setting her up to be one of three women to potentially cross the billion-dollar mark this year. Swift’s Eras Tour is sure to push her over the edge, while P!nk’s Summer Carnival Tour could do the trick as well.
Renaissance was Beyoncé’s seventh No. 1 album, while “Break My Soul” marked her eighth No. 1 song. When album cut “Cuff It” shot to No. 10 on the Hot 100 last month, it became the 21st top 10 Hot 100 song of her solo career. The Renaissance world tour is scheduled to kick off May 10 at Stockholm’s Friends Arena and wrap on September 27 at New Orleans’ Caesars Superdome.
Headlines about Tom Brady today are, understandably, focused on his announced retirement, but a song related to the football GOAT makes its own news with a Billboard chart debut.
“Gonna Be You,” by fellow legendary entertainers Dolly Parton, Belinda Carlisle, Cyndi Lauper, Gloria Estefan and Debbie Harry – and written by Diane Warren – enters Billboard’s Digital Song Sales chart (dated Feb. 4) at No. 42 with 2,000 downloads sold from its Jan. 20 release through Jan. 26, according to Luminate.
(The number 42, thus, takes on a more positive tone regarding Brady, after Super Bowl XLII still makes New England Patriots fans wince.)
The song accompanies the movie 80 for Brady, which Brady co-produced and in which he acts. The comedy, whose Los Angeles premiere was held Tuesday, follows four friends – played by acting icons Sally Field, Jane Fonda, Rita Moreno and Lily Tomlin – who travel from Massachusetts to Texas to see the quarterback, then playing for the Patriots, in Super Bowl LI in 2017. (The team’s 34-28 comeback in the game, from a 28-3 deficit, still makes Atlanta Falcons fans wince, although it makes Patriots fans smile.)
“Gonna Be You,” whose official video finds Parton, Carlisle, Lauper and Estefan all sporting Brady’s No. 12 Patriots uniform, marks the latest chart entry for each star. Parton first hit Billboard‘s rankings in 1967 (when “Dumb Blonde” debuted on the Hot Country Songs chart dated that Jan. 21 – six days after the first Super Bowl); Harry, as a member of Blondie, in 1978; Carlisle, with the Go-Go’s, in 1980; Lauper, in 1983; and Estefan, with Miami Sound Machine, in 1984.
Warren, meanwhile, has written nine Billboard Hot 100 No. 1s, among 32 top 10s. Among her catalog of Hot 100 entries are top 40 hits recorded by Carlisle (“I Get Weak,” a No. 2 hit in 1988) and Estefan (“Live for Loving You,” No. 22, 1991). (Warren is currently scaling Adult Contemporary with her first charted title as a credited artist, “Sweet,” with vocals by Jon Batiste and Pentatonix.)
Said Warren ahead of the release of “Gonna Be You,” “Since ’80’ was in the [movie’s] title, I got a crazy idea: Why not get some of the most iconic singers from the ’80s, who are still amazing and always will be, to all sing it?! Everyone I approached said yes and was just as excited as me!”
Blondie boasts four Hot 100 No. 1s, Estefan three, Parton and Lauper two each and Carlisle one, totaling, aptly for Brady, 12.
Singer-songwriter Brandon Lake scores his second No. 1, and first as a lead artist, on Billboard’s streaming-, airplay- and sales-based Hot Christian Songs chart (dated Feb. 4) with “Gratitude.”
The single rebounds for a third week atop Christian Digital Song Sales, up 7% to 2,000 downloads sold Jan. 20-26, according to Luminate. It also drew 1.9 million official U.S streams. On Christian Airplay, the song pushes 13-11 for a new best (4.9 million audience impressions, up 24%).
Lake co-authored “Gratitude” with Dante Bowe and Benjamin Hastings, while Jacob Sooter produced it.
“Every song has a season, and season a song,” Lake tells Billboard. “’Gratitude’ couldn’t more accurately describe everything I want to express to God in this time. There are times where I feel like worshipping and there are times I often don’t, but what can shift any weary soul is a spirit of gratitude. I love that this song not only expresses a heartfelt ‘thank you,’ but commands your soul to wake up and worship. The journey of how this song came to be is a miracle in itself that I’m thankful for.”
Lake previously topped Hot Christian Songs as featured on Elevation Worship’s “Graves Into Gardens,” for two frames in February 2021. It also paced Christian Airplay for a week, awarding Lake his lone leader so far.
Concurrently, Lake charts two additional tracks on Hot Christian Songs. He’s featured on Ryan Ellis’ “Son of David,” at No. 25, and his duet with KB, “Graves,” at No. 44.
Tribbett’s ‘New’ No. 1
On Gospel Airplay, Tye Tribbett notches his fourth No. 1 and third in succession with “New,” which he wrote solely.
The song follows ‘’Anyhow,” which dominated for two weeks in June 2021, and “We Gon’ Be Alright,” which led for a week in September 2020. Tribbett, who hails from Camden, N.J., notched his first leader, among nine top 10s, with “Victory” (with backing group G.A.), which reigned for three weeks beginning in September 2006.
MercyMe Extends Record
MercyMe rolls up its record-padding 19th No. 1 on Billboard’s Christian AC Airplay survey with “Then Christ Came” (up 3% in plays).
The format cornerstone act last led with “Almost Home,” for three frames in April 2020. In between that song and “Then,” the group’s “Say I Won’t” reached No. 3 in May 2021 and “On Our Way,” featuring Sam Wesley, hit No. 9 in February 2022.
MercyMe widens its lead for the most No. 1s since Christian AC Airplay began in 2003 over Jeremy Camp and Casting Crowns, each with 13.
MercyMe banked its first leader with “Word of God Speak,” which dominated for 21 weeks starting in August 2003. It’s the longest-leading No. 1 in the chart’s history, followed by the band’s own “Even If,” which ruled for 19 weeks starting in May 2017.
Gabito Ballesteros, Peso Pluma and Natanael Cano all team up to score their first appearances on the Billboard Hot 100 as “AMG” debuts at No. 92 on the latest Feb. 4-dated chart.
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The song, which the trio released Nov. 24 via Los CT/Rancho Humilde/Worms/Prajin Parlay/Prajin/Warner Latina, arrives almost entirely from its streaming sum: 5.8 million official U.S. streams (up 24%) in the Jan. 20-26 tracking week, according to Luminate.
The track concurrently jumps 15-10 on the multimetric Hot Latin Songs chart, becoming the first top hit for Ballesteros and Pluma, and the second for Cano. “AMG” also ascends 62-50 on the Billboard Global Excl. U.S. chart and 71-50 on the Billboard Global 200.
TikTok has helped grow the song’s profile, as a portion of it has been used in over 160,000 videos on the platform to date. (TikTok does not contribute to Billboard‘s charts.)
Singer-songwriter Ballesteros is new to Billboard’s charts. “AMG” marked his first appearance when it debuted on Hot Latin Songs (Dec. 10). He scored his second entry last week (charts dated Jan. 28), when his collaboration with Junior H, “Vamos Para Arriba,” opened at No. 32 Hot Latin Songs survey — it dips to No. 36 this week.
Peso Pluma first reached a Billboard chart last April when “El Belicón,” with Raul Vega, debuted at No. 50 on Hot Latin Songs (before peaking at No. 46 two weeks later). The singer-songwriter has since charted four additional Hot Latin Songs hits: “Siempre Pendientes,” with Luis R. Conriquez (No. 27 peak in November); “El Gavilán,” with Conriquez and Tony Aguirre (No. 41, December); “Igualito A Mi Apá,” with Fuerza Regida (No. 45, January); and now “AMG.”
“Siempre Pendientes” also became Peso Pluma’s first global chart hit, as it reached No. 155 on Global Excl. U.S. and No. 174 on the Global 200.
At just 21 years old, Cano is already a fairly seasoned hitmaker on Billboard’s charts. The Mexican rapper-singer has tallied 11 entries on Hot Latin Songs, dating to his first, “Soy El Diablo,” with Bad Bunny, in November 2019. Of those, one has climbed to the top 10: “Amor Tumbado” (No. 8, February 2020). He has also charted seven titles on the Top Latin Albums chart, including two top 10s: Corridos Tumbados (No. 4, 2019) and A Mis 20 (No. 9, 2021).
Corridos Tumbados also spent 31 weeks at No. 1 on the Regional Mexican Albums chart. That’s the fourth-longest reign in the chart’s history, after Selena’s Amor Prohibido (97 weeks), Christian Nodal’s Me Dejé Llevar (73) and Eslabon Armado’s Corta Venas (54).
Cano is signed to Republic Records via Rancho Humilde. In May 2022, he signed a publishing deal with Warner Chappell Music. “Nata is a unique talent, who, at such a young age, has already secured his legacy in the industry,” WCM’s president, U.S. Latin & Latin America, Gustavo Menéndez said at the time. “He has an incredible delivery with an uncanny penmanship as a songwriter, no matter the genre.”
Two sets start atop Billboard’s rock album charts dated Feb. 4, as HARDY’s The Mockingbird & the Crow and Måneskin’s Rush! open atop the lists.
HARDY’s Crow, a hybrid between the country and rock genres, debuts at No. 1 on the Top Rock & Alternative Albums, Top Rock Albums and Top Hard Rock Albums tallies with 55,000 equivalent album units earned Jan. 20-26, according to Luminate. Of that sum, 34,000 units are from streaming and 20,000 via album sales.
The former total is the best for any title on Top Hard Rock Albums since it adopted a consumption methodology in 2017, while Crow’s overall unit count is the biggest on the chart since Slipknot’s The End, So Far bowed with 59,000 units (Oct. 15, 2022).
Crow is HARDY’s first No. 1 on each chart, achieved in his first appearance on each (as his previous albums were more fully within the country genre). It’s also his first Top Country Albums ruler, surpassing the No. 4 debut and peak of A Rock in 2020.
On the all-format Billboard 200, Crow bows at No. 4, becoming HARDY’s first top 10. Its predecessor, A Rock, reached No. 24.
Meanwhile, Måneskin’s Rush! starts at No. 1 on the Top Alternative Albums chart with 18,000 units earned. It’s the Italian rockers’ first leader in their first appearance.
The set also begins at Nos. 2, 4 and 4 on the Top Hard Rock Albums, Top Rock & Alternative Albums and Top Rock Albums charts, respectively.
It’s the band’s first top 20 title on the Billboard 200, beginning at No. 18.
Tracks from both new sets concurrently rank on the multimetric Hot Rock & Alternative Songs chart, paced by HARDY’s “Radio Song,” featuring A Day to Remember’s Jeremy McKinnon, at No. 25. In the latest tracking week, “Radio” earned 2.3 million official U.S. streams and sold 1,000 downloads.
Seven songs from HARDY’s Crow appear on Hot Rock & Alternative Songs, with “Radio” followed by “Jack” at No. 27.
Måneskin’s Rush!, meanwhile, boasts an appearance in “The Loneliest,” which lifts 40-34 with 2.3 million radio audience impressions and 1.9 million streams. Prior to the album’s arrival, two cuts included on Rush! reached Hot Rock & Alternative Songs: “Supermodel” (No. 13 peak last July) and “Mammamia” (No. 21, October 2021).
“Loneliest” is the current radio single from Rush!, concurrently charting at its No. 6 best on Alternative Airplay. Crow’s current rock radio single, “Jack,” ranks at its No. 11 high on Mainstream Rock Airplay. The latter’s country single, “Wait in the Truck,” featuring Lainey Wilson, likewise holds the No. 11 spot, its top rank so far, on Country Airplay.
Romeo Santos and Rosalía add new career No. 1s on Billboard’s Tropical Airplay chart as their first collaboration, “El Pañuelo,” rules the Feb. 4-dated ranking.
The song rises 3-1 with 9.9 million audience impressions, an 8% gain, earned in the U.S. in the week ending Jan. 26, according to Luminate.
Rosalía scores her third straight No. 1, and second through a bachata. Thanks to “El Pañuelo,” Santos becomes the fourth artist to accumulate at least 18 No. 1s since Tropical Airplay chart launched in 1994. He joins Marc Anthony, who leads with 35, followed by Victor Manuelle (29), and Prince Royce (22).
The new No. 1 also marks the 10th time a pair-up comprising a female and a male on lead role has reached No. 1 since the chart’s inception. Let’s look back:
Peak Date, Title, Artist, Weeks at No. 1
Aug. 15, 1998, “Corazón Encadenado,” Gisselle & Sergio Vargas, one
June 26, 1999, “No Me Ames,” Jennifer López & Marc Anthony, seven
June 18, 2016, “La Bicicleta,” Carlos Vives & Shakira, one
Dec. 31, 2016, “Olvídame y Pega La Vuelta,” Jennifer López & Marc Anthony, two
April 29, 2017, “Deja Vu,” Prince Royce & Shakira, 11
Oct. 26, 2019, “La Mejor Versión de Mí,” Natti Natasha & Romeo Santos, 15
May 29, 2021, “Víctimas Las Dos,” Victor Manuelle & La India, one
May 28, 2022, “Te Espero,” Prince Royce & Maria Becerra, four
Dec. 3, 2022, “Monotonía,” Shakira & Ozuna, nine
Feb. 4, 2023, “El Pañuelo,” Romeo Santos & Rosalía
Further, Santos also unlocks another achievement on the current chart: “Solo Conmigo,” his latest single, takes the Greatest Gainer award, rising 19-12 with a lofty 310% gain in audience, to 2 million. Plus, “Sin Fin,” with Justin Timberlake, holds at No. 9 for a second week (after its previous No. 1 debut last September), while “Siri,” with Chris Lebron, dips 18-22. All songs are on Santos’ latest album, Formula, Vol. 3, which crowned Tropical Albums for 15 weeks.
Beyond its Tropical Airplay coronation, “El Pañuelo” bests its previous Latin Airplay ranking with a 3-2 jump.