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Chart Beat

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Kylie Minogue, the queen of pop, is crowned on Australia’s albums chart with Tension II.
The new collection is Kylie’s ninth leader on the ARIA Chart, fifth in succession, and second in a year; its predecessor, Tension, logged one week at the summit in September 2023.

Tension II (via Mushroom Music) is the Melbourne-raised pop icon’s 17th studio album, and with its fast start on the chart, pushes Kylie to No. 9 on the list of acts with the most No. 1s in Australia, a tally that includes Light Years (from 2000), Fever (2001), X (2007), Kiss Me Once (2014), Golden (2018), Step Back In Time: The Definitive Collection (2019), Disco (2020) and Tension.

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She also has 10 No. 1 singles in Australia, from “Locomotion” in 1987 to “2 Hearts” in 2007, ARIA reports, and she’s on the brink of a 10th No. 1 on the Official U.K. Albums Chart.

Trending on Billboard

“It is so awesome to see Australia’s OG pop queen continuing to dominate globally and at home, bringing joy and disco into our lives,” comments ARIA CEO Annabelle Herd. “Huge congratulations to her and her team for such a phenomenal career, five consecutive No. 1 albums, and continuing to represent Australia on the world stage.”

Also new to the ARIA Chart, published Friday, Oct. 25, is Dean Lewis’ The Epilogue (Island/Universal), at No. 2. It’s a third top 10 for the triple ARIA Award winner, a tally that includes a No. 1in 2019 with A Place We Knew.

Meanwhile, New South Wales indie rock duo Skegss start at No. 4 with Pacific Highway Music (Concord/Universal), their third full-length album. Skegss now have four top 10s under their belts: 2015 EP 50 Push Ups For A Dollar peaked at No. 4; My Own Mess hit No. 2 in 2018, and 2021’s Rehearsal went all the way to No. 1.

ARIA Award winner Thelma Plum’s lands in the top 10 with I’m Sorry, Now Say It Back (Warner Music Australia), new at No. 7. It’s the Brisbane singer and songwriter’s followup to debut Better In Blak, which peaked at No. 4 in 2019.

Confidence Man impact the top 40 with 3AM (La La La) (via I Oh You/Mushroom), on which the Aussie electro-pop act takes a time-machine back to ’90s rave and clubland. 3AM (La La La) is new at No. 40.

It’s a Melbourne double on the ARIA Charts as RosĂ© opens at No. 1 on the singles tally with her Bruno Mars collaboration, “APT.” (via Atlantic/Warner). That’s a record-breaking feat, making RosĂ© the first solo female K-pop artist to lead the chart. She’s just the second solo K-pop singer to rule the ARIA Chart after PSY’s “Gangnam Style” spent six weeks at the top back in 2012.

RosĂ© was born in Auckland and raised in Melbourne, before making the move to South Korea, where she joined Blackpink and smashed records everywhere. In Australia, the foursome owns the highest-debuting single by a K-pop group in ARIA Chart history, when “Pink Venom” went to No. 1 in 2022.

GloRilla nabs her second top 10-charting effort on Billboard’s Top Album Sales chart (dated Oct. 26), and with her best sales week yet, as Glorious debuts at No. 6. The title arrives at No. 6 with nearly 12,000 copies sold in the U.S. in the week ending Oct. 17, according to Luminate. The album was available in both a standard and bonus track digital download edition, as well as a signed CD edition.
GloRilla previously visited the top 10 with Anyways, Life’s Great
 in 2022, debuting and peaking at No. 6.

Glorious additionally opens in the top 10 across multiple other charts: Top R&B/Hip-Hop Albums (No. 2), Top Rap Albums (No. 2), Top Streaming Albums (No. 4) and the Billboard 200 (No. 5) – all with her best ranks yet on each chart.

Trending on Billboard

Billboard’s Top Album Sales chart ranks the top-selling albums of the week based only on traditional album sales. The chart’s history dates back to May 25, 1991, the first week Billboard began tabulating charts with electronically monitored piece count information from SoundScan, now Luminate. Pure album sales were the sole measurement utilized by the Billboard 200 albums chart through the list dated Dec. 6, 2014, after which that chart switched to a methodology that blends album sales with track equivalent album units and streaming equivalent album units.

Elsewhere on the Top Album Sales chart, Jelly Roll racks up his best sales week ever, and first No. 1, as Beautifully Broken bows atop the list with 114,000 sold. The album’s opening week sales were bolstered by its availability across seven vinyl variants, three CD variants (the CDs sold a combined 65,000, including a signed edition sold through the artist’s webstore), a cassette tape and three download album variants (the downloads sold 32,000). Net profits from pre-orders of the CD and vinyl in his webstore benefitted four charity organizations.

Charli XCX’s Brat flies 25-2 with 48,000 (up 1,281%) for its highest rank and best sales week yet. The surge follows the album’s two deluxe reissues released in the week ending Oct. 17. All versions of the album are combined for tracking and charting purposes. For the deluxe reissues (dubbed Brat and it’s completely different but also still brat), the album’s original tracklist was supersized on Oct. 11 to add in 16 remixes of the set’s songs (with guests including The 1975 and Ariana Grande; available on vinyl, CD, cassette and digital download). Then, on Oct. 14, the deluxe was plussed, adding a remix of “Spring Breakers” featuring Kesha (available as a digital download purchase).

Chappell Roan’s former No. 1 The Rise and Fall of a Midwest Princess dips 2-3 (14,000; up 6%), Sabrina Carpenter’s Short n’ Sweet is steady at No. 4 (14,000; up 6%), Coldplay’s Moon Music falls 1-5 in its second week (12,000; down 89%), Stray Kids’ chart-topping ATE rises 8-7 (9,000; up 7%), Billie Eilish’s Hit Me Hard and Soft jumps 12-8 (8,000; up 14%) and ENHYPEN’s chart-topping Romance: Untold rises 13-9 (7,000; up 10%).

Rounding out the top 10 is Myles Kennedy with the arrival of The Art of Letting Go, bowing at No. 10 with nearly 7,000. It’s the sixth top 10 for the artist.

Is it really summer without The Rolling Stones on tour? The rock icons have toured North America, Europe, or both, for every summer but three in the last 12 years, consistently topping charts and setting records. After a break in 2023, the Stones returned for the Hackney Diamonds Tour, playing 18 shows in 15 cities throughout the U.S. and Canada from the end of April through the middle of July. According to figures reported to Billboard Boxscore, the trek earned $235 million and sold 848,000 tickets.

The tour was in support of the band’s Hackney Diamonds album, released in October 2023. The set marked the band’s first album of original material since 2005’s A Bigger Bang. Hackney Diamonds debuted at No. 3 on the Billboard 200 – the group’s highest-charting album since Bang also hit No. 3 – and extended the band’s record for the most top 10s on the chart.

The Hackney Diamonds Tour kicked off at Houston’s NRG Stadium on April 28, 2024,, bringing the Stones to more than 40,000 fans. By the time the band wrapped at Levi’s Stadium in Santa Clara on July 17, it had scored the highest-earning summer of its career. Sixty, its 2022 jaunt, earned $120.8 million, and the biggest of its four No Filter Tour legs brought in $177.8 million in 2019. While they’ve made more money on years-long treks, Mick Jagger & co. have never earned more than $200 million in a single season.

The Stones’ 2024 run was highlighted by double-headers in East Rutherford, N.J. (17 miles outside New York City), Chicago and Inglewood, Calif. (11 miles from downtown Los Angeles). Each of those engagements grossed more than $20 million, topped by the New Jersey shows at MetLife Stadium on May 23 and 26, which earned a combined $29.2 million and sold 105,000 tickets.

Those MetLife dates mark a career peak, setting the highest gross of the Stones’ 35-year Boxscore history. The Inglewood and Chicago dates also fall in the top 10, while Denver, Foxborough, Las Vegas and Philadelphia line up in the band’s all-time top 20, all between $15-16 million.

Every market on the tour delivered an eight-figure gross, with the lone exception of Glendale, Ariz., whose May 7 State Farm Stadium show grossed $8.4 million and sold 44,800 tickets.

Tours

Billboard

The Hackney Diamonds Tour sets a new high for The Rolling Stones and pushes the band further into uncharted Boxscore territory. This is its sixth tour to earn more than $200 million and 10th to gross more than $100 million. Both counts are Boxscore records, extending their lead for the most nine-figure tours, now three $100-million tours away from the group’s closest competitors.

Dating back to a report for two shows at Philadelphia’s Veterans Stadium on Aug. 31-Sept. 1, 1989, The Rolling Stones have earned $2.873 billion and sold 28.9 million tickets.

Across Green Day’s 12 shows in September — 11 at stadiums, plus an amphitheater show in Austin, Texas — the band sold 415,000 tickets at an average ticket price of $114.71, combining for earnings of $47.5 million according to figures reported to Billboard Boxscore. That puts the California trio’s The Saviors Tour at No. 1 on Billboard’s monthly Top Tours ranking.

The Saviors Tour kicked off in June with a $33.8 million run in Europe, before crossing the Atlantic for a 26-city tour of the United States and Canada. Though Green Day had sprinkled stadiums late in the 2004-05 American Idiot World Tour and then committed fully to the venues with Fall Out Boy and Weezer on the 2021-22 Hella Mega Tour, this marks the band’s first solo headlining run to predominantly play stadiums.

The Saviors Tour is named after Green Day’s 14th studio album. The set debuted at No. 4 on the Billboard 200 earlier this year and spawned “Dilemma,” which spent eight weeks atop Alternative Airplay. But the trek helped juice up the band’s reach by calling back to two of its landmark albums, celebrating the 30th anniversary of Dookie and the 20th anniversary of American Idiot by playing both LPs in full each night.

In September, Green Day hit a high for its entire North American leg, with $5.7 million and 47,800 tickets at SoFi Stadium in Inglewood, Calif. That’s one of three entries for the band on Top Boxscores, at No. 24. Dates at San Francisco’s Oracle Park and San Diego’s Petco Park follow at Nos. 27 and 29, respectively.

It’s uncommon for an act to be No. 1 on Top Tours without a similarly high placement on Top Boxscores. Throughout 2024, the highest-grossing touring act has always had at least one entry in the top 10 of Top Boxscores, with the same act ruling both charts in five of the right months before September.

Further, in the 51 editions of Billboard’s monthly Boxscore charts since Feb. 2019, the artist at No. 1 on Top Tours was in the top 10 of Top Boxscores 43 times. Of the eight instances where they did not overlap, four were by Trans-Siberian Orchestra during their annual December takeover. That group routinely rules Top Tours without making impact on Top Boxscores, assembling its massive monthly total by playing multiple shows per day, with the help of two coastal touring ensembles.

Though there is only one iteration of Green Day responsible for its September victory, the strategy is similar. The punk-rock icons have the month’s biggest tour by volume, playing 12 stadium shows between Sept. 1-28. The acts that lead Top Boxscores – Coldplay, Metallica, Bruno Mars – all held splashy multi-night engagements in international territories, but didn’t tour consistently throughout the month.

Timing also helps. In August, Green Day’s $47.5-million gross would have sat behind the entire top five, helmed by Zach Bryan above $90 million and Coldplay over $80 million. The former took September off and the latter wrapped its European leg on Sept. 2, clearing a path for Billie Joe & co. to claim their first monthly victory.

Still, the individual shows on The Saviors Tour mark the biggest of Green Day’s storied career. While the SoFi Stadium shows were the biggest of the North American leg, a June 29 show at London’s Wembley Stadium ($7.9 million; 76,000 tickets) topped the entire tour. It was also the highest-grossing and best-attended night of the band’s entire reported Boxscore history.

Further, Green Day’s 25 top-earning concert engagements all come from this year’s tour. In all, The Saviors Tour grossed $132.4 million and sold 1.2 million tickets, easily ending as the band’s highest-grossing and best-selling tour ever.

Directly following Green Day on Top Tours are two of the biggest R&B acts on the road. Bruno Mars is No. 2 with $43.8 million and Usher is No. 3 with $36 million. The former played in Indonesia, Malaysia and Taiwan (plus one show in Las Vegas). Three shows at Jakarta’s Beach City International Stadium account for nearly half of Mars’ total monthly gross, bringing in $21.5 million from 142,000 tickets.

Notably, Mars is not technically on a tour, rather playing one-off engagements around his ongoing residency at Las Vegas’ Dolby Live. His last trek was the 24K Magic World Tour, which earned $396.1 million and sold 3.6 million tickets in 2017-18. His current Vegas stint is among the top 10 residencies in Boxscore history, now up to $138.8 million.

Usher, on the other hand, is amidst his first proper headline tour since 2015, after closing out his own Vegas residency late last year. Usher: Past Present Future kicked off in August, averaging $2.3 million per show in September. Its biggest stop so far was a four-night run at Brooklyn’s Barclays Center, which brought in $10.2 million and sold 58,000 tickets.

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10/24/2024

Rock tours flood the rest of the top 10, with Metallica, Jeff Lynne’s ELO and Pearl Jam following at Nos. 4-5 and 8, respectively. Coldplay, Twenty One Pilots and the Eagles line up consecutively just outside the top 10.

While Green Day crowns Top Tours while missing the top 10 of Top Boxscores, Coldplay does the opposite, at No. 1 on the latter chart while sitting at No. 11 on the former. Coldplay only had two shows during September, but they made them count. The British quartet played four concerts at Dublin’s Croke Park – two on Aug. 29-30, which counted toward the August chart, and two on Sept. 1-2. The September dates grossed $24.8 million and sold 165,000 tickets.

Further down on Top Boxscores, Sebastian Maniscalco grossed $10.7 million across five nights at Madison Square Garden, earning the No. 8 entry. It’s the highest-grossing report for a comedian in Boxscore history. The number of comedy acts who can play one night at an arena is small, so consider Maniscalco one of very few who could sell out five.

Megan Thee Stallion nabs her fifth No. 1 on Billboard’s Rhythmic Airplay chart as “Mamushi,” featuring Yuki Chiba, captures the crown on the list dated Oct. 26. Despite a 4% drop in plays for the week compared to the week prior, “Mamushi” became the most played song on U.S. monitored rhythmic radio stations in the […]

Yeah Yeah Yeahs’ “Maps” continues its recent dominance atop the TikTok Billboard Top 50 chart, reigning for a third straight week on the Oct. 26-dated tally.

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The TikTok Billboard Top 50 is a weekly ranking of the most popular songs on TikTok in the United States based on creations, video views and user engagement. The latest chart reflects activity from Oct. 14-20. Activity on TikTok is not included in Billboard charts except for the TikTok Billboard Top 50.

“Maps” – on the strength of two dominant TikTok trends, one a dance and the other using a filter to remove one’s facial features (more on that here) – and Alphaville’s “Forever Young” remain at Nos. 1 and 2; “Forever Young” is a previous No. 1 on the chart, having ruled the Oct. 5 survey, and the song hasn’t been below the top three since September.

Trending on Billboard

Despite the stagnant top two, there’s movement elsewhere in the top 10, paced by Akon’s “Akon’s Beautiful Day,” which zooms 8-3 in its second week on the chart.

Initially, the top clips using the song were from Akon himself, but the tune – released Oct. 4 after being teased on the platform previously – has since spread to hundreds of thousands of usages by other creators, ranging from sports-related videos, uploads about positivity and friendship, general-topic content and more.

Concurrently, “Akon’s Beautiful Day” debuts at No. 31 on Billboard’s Rhythmic Airplay chart. In the week ending Oct. 17, it earned 448,000 official U.S. streams, up 25%, according to Luminate.

It’s followed on the TikTok Billboard Top 50 by Aphex Twin’s “QKThr,” which completes a 19-week rise to the top 10 with an 11-4 bump. That’s the lengthiest amount of time from debut week to first time in the top 10 since the chart began in September 2023, eclipsing the 15 weeks Billie Eilish’s “Wildflower” took before hitting No. 7 last month.

“QKThr” debuted at No. 13 on the Feb. 10-dated list and bounced around the chart for five weeks before falling off, returning for its current run in July. Released in 2001 as part of Aphex Twin’s album Drukqs, its latest rise is tied to the “subtle foreshadowing” trend where users post clips of misfortune with what’s to come stitched in throughout the video.

FloyyMenor’s “Peligrosa” also reaches a new peak, moving 9-6. It’s his second top 10 on the chart, following the No. 5 peak of “Gata Only,” alongside Cris Mj, in April.

“Peligrosa,” which has risen as high as No. 19 on Billboard’s Hot Latin Songs chart earlier this month after being released in July, benefits from a dance trend alongside other high-performing uploads. It earned 2.8 million streams in the week ending Oct. 17.

The TikTok Billboard Top 50’s top 10 also sports a debut within its confines: Vines’ “Being Loved Isn’t the Same As Being Understood,” which bows at No. 8. Premiered in March, the song has exploded in popularity on TikTok due to a trend that’s usually presented as a photo collage meant to “sum up” the person represented, whether it’s themselves, a family member or a friend.

Though it’s not a 19-week trip like “QKThr,” Gigi Perez’s “Sailor Song” also completes a lengthy run to the top 10, jumping 24-10 in its ninth week on the chart. A variety of high-performing videos following loosely related trends, including one where people surprise their long-distance significant others in person.

“Sailor Song” rises to a new peak of No. 28 on the Billboard Hot 100, jumping 13% in streams to 13 million in the week ending Oct. 17.

See the full TikTok Billboard Top 50 here. You can also tune in each Friday to SiriusXM’s TikTok Radio (channel 4) to hear the premiere of the chart’s top 10 countdown at 3 p.m. ET, with reruns heard throughout the week.

Following the tragic passing of Liam Payne, One Direction’s music has experienced a major resurgence on the U.K. Official Charts.
Payne died on Oct. 16 at age 31 after falling from a third-floor hotel balcony in Buenos Aires, Argentina. He is survived by his 7-year-old son, Bear, whom he shares with ex-partner Cheryl Cole.

In the days since his death, countless friends, fans and family members have posted messages of grief, including all four of the musician’s former bandmates: Harry Styles, Niall Horan, Louis Tomlinson and Zayn Malik.

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Fans paying tribute to the late star have since helped propel the group’s catalogue back into the U.K. Official Charts, with several of their albums and singles now seeing a major uplift in the wake of the tragedy.

Trending on Billboard

According to the latest Official Albums Chart Update, Take Me Home (2012) is currently positioned at No. 12 and is eyeing a potential Top 10 return by the end of the week. The album, which initially peaked at No. 1 in the U.K., features hits like “Live While We’re Young,” “Little Things,” and “Kiss You.”

Midnight Memories (2013) is also making a resurgence across the pond, sitting at No. 14 midweek, while Made in the A.M. (2015) and FOUR (2014) are tracking at No. 15 and No. 20, respectively. Meanwhile, their debut album Up All Night (2011), which originally peaked at No. 2, has re-entered the chart at No. 33.

In addition to the albums, several One Direction singles are also gaining traction. “Night Changes” (2014) has re-entered the charts at No. 13, with “Story of My Life” (2013) at No. 21. Their debut hit “What Makes You Beautiful” (2011) is set to return at No. 48.

Payne’s solo work has also seen a resurgence. His 2019 album LP1 has re-entered the charts at No. 49, and singles like “Teardrops,” “For You” (with Rita Ora), and “Strip That Down” (featuring Quavo) are all experiencing renewed interest.

Several of One Direction’s singles have also seen renewed interest. Their 2014 hit, “Night Changes,”as re-entered the charts at No. 13, while “Story of My Life” (2013) is currently positioned at No. 21. Meanwhile, their debut single “What Makes You Beautiful” (2011) is set to re-enter the chart at No. 48.

Payne’s solo material has also experienced a resurgence. His 2019 debut album LP1 has re-entered the charts at No. 49, with singles like “Teardrops,” “For You” (with Rita Ora), and “Strip That Down” (featuring Quavo) also climbing.

For the full midweek update, visit the Official Charts Company.

Rod Wave‘s Last Lap beats the competition on Billboard’s Top R&B/Hip-Hop Albums chart with a No. 1 entrance on the list dated Oct. 26. The album, released through Alamo Records, starts with 127,000 equivalent album units earned in the U.S. for the tracking week of Oct. 11 – 17, according to Luminate, kicking off as the week’s most-streamed album of any genre.

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Of Last Lap’s first-week sum, streaming activity contributes 125,000 units, equaling 173.4 million official on-demand streams of the album’s songs. Thanks to that swell, Last Lap begins at No. 1 on the Top Streaming Albums chart. Traditional album sales deliver 2,000 units with a negligible amount of activity 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.)

With Last Lap, Rod Wave picks up his fourth No. 1 on Top R&B/Hip-Hop Albums. His first two leaders – SoulFly (2021) and Beautiful Mind (2022) – each ruled for two weeks, while last year’s Nostalgia clocked three weeks in the top slot. In addition to his four champs, Rod Wave has sent three more titles onto the Top R&B/Hip-Hop Albums chart – Ghetto Gospel, which peaked at No. 7 in 2020, Pray 4 Love (No. 2, 2020) and the EP Jupiter’s Diary: 7 Day Theory (No. 5, 2022).

Trending on Billboard

Elsewhere, Last Lap opens at No. 1 on the Top Rap Albums chart and at No. 2 on the all-genre Billboard 200.

Due to the Last Lap streaming avalanche, 21 of the album’s songs spill onto the Hot R&B/Hip-Hop Songs chart. “25” leads the pack at No. 4 and, with 17.5 million official U.S. streams, is the top-streamed Last Lap track for the week. Here’s a full recap of the album’s placements on this week’s ranking:

No. 4, “25”No. 8, “Last Lap”No. 10, “Federal Nightmares”No. 11, “Angel With an Attitude”No. 13, “Fall Fast in Love”No. 14, “F**k Fame,” featuring Lil Yachty & Lil BabyNo. 15, “Passport Junkie”No. 17, “Never Mind”No. 18, “Turtle Race”No. 20, “Apply Pressure”No. 25, “The Best”No. 28, “Even Love”No. 30, “Lost in Love,” with Be CharlotteNo. 35, “Waited 2 Late”No. 36, “Mike”No. 37, “D.A.R.E.”No. 38, “Scared Love”No. 41, “Karma”No. 43, “The Mess They Made”No. 44, “IRan”No. 47, “Spaceship”

The 21 simultaneous entries makes Rod Wave only the sixth artist to ever chart as many tracks on Hot R&B/Hip-Hop Songs in a single week, dating to the chart’s launch in 1958. (The feat is a recent trend, as huge streaming returns have allowed for a sharp rise in the number of songs that make the chart in a week, usually with an album’s debut.) The rapper joins Drake, who has eight different weeks of 21 or more songs, Lil Baby (three times), Future, Lil Wayne and Metro Boomin (one each).

Creepy Nuts’ “Otonoke” hits No. 1 on the Billboard Japan Hot 100, climbing 4-1 on the chart dated Oct. 23.
The opener for the anime series Dandadan dropped digitally on Oct. 4 and debuted at No. 32 on the chart dated Oct. 9. After shooting to No. 4 last week, the track becomes the hip-hop duo’s second No. 1 hit in its third week on the tally.

The accompanying music video for the track boosted its position on the chart. The distinctive visuals, which sees R-Shitei and DJ Matsunaga of Creepy Nuts appearing in countless numbers, made a splash after being released Oct. 18 and hit No. 2 for video views. Streaming for the track also increased by 109% compared to the week before.

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“Otonoke” also topped Billboard Japan’s Global Japan Songs Excl. Japan chart dated Oct. 17. The track is currently the song from Japan being listened to the most in Singapore, France, the U.K., South Africa, the U.S. and Brazil, and is quickly becoming Creepy Nuts’ next hit both domestically and globally, following the long-running mega-hit “Bling-Bang-Bang-Born.” 

Snow Man’s “One” follows at No. 2. Featured as the ending theme song for the anime Blue Lock VS. U-20 JAPAN, the track was pre-released from the boy band’s fourth album RAYS, set to drop Oct. 30. The song rules downloads and hits No. 5 for video this week.

Trending on Billboard

Mrs. GREEN APPLE’s “Lilac” holds at No. 3. The former No. 1 hit is now in its 28th week on the Japan Hot 100 with only slight decreases in all the metrics of the chart’s methodology.

“Hatsukoi Cinderella” by ≒JOY (Nearly Equal Joy) debuts at No. 4. Produced by AKB48 alum Rino Sashihara, ≒JOY is a group formed in collaboration with Yoyogi Animation Academy. The six-member girl group’s second single sold 130,708 copies to rule physical sales this week.

MISAMO’s “NEW LOOK” jumps 21-8 to break into the top 10. MISAMO consists of TWICE’s MINA, SANA and MOMO, and the track is off the group’s upcoming mini album HAUTE COUTURE slated for release Nov. 6. Streaming for the Namie Amuro cover increased by 170% compared to the previous week, and radio increased by 325%. 

AKASAKI’s “Bunny Girl” also rises 14-10, giving the 18-year-old singer-songwriter his first top 10 hit. “Bunny Girl” dropped Oct. 2 after a portion of the song went viral on TikTok. The track has steadily climbed up the Japan Hot 100 from No. 40 to No. 14 to No. 10.

The Billboard Japan Hot 100 combines physical and digital sales, audio streams, radio airplay, video views and karaoke data.

See the full Billboard Japan Hot 100 chart, tallying the week from Oct. 14 to 20, here. For more on Japanese music and charts, visit Billboard Japan’s English X account.

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. 

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This week: ROSÉ & Bruno Mars’ new collab looks to be another steady-growing success, a BeyoncĂ© classic goes re-viral on its own and in mashup form, victory anthems for the two New York baseball teams prove postseason-ready and much more.

‘APT.’ Unlocked: ROSÉ & Bruno Mars Team-Up Starts Off Strong on Streaming

Watch out, Luka Doncic, James Harden and Tyrese Haliburton: as a new NBA season gets underway, Bruno Mars has already become the king of the assist this fall. After teaming up with Lady Gaga on “Die With a Smile,” which has spent its entire nine-week run on the Billboard Hot 100 within the top 10, Mars jumped on “APT.,” the lead single from ROSÉ’s forthcoming debut solo project — and has likely helped the BLACKPINK star score the biggest chart hit of her career so far.

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The catchy, clap-along pop collaboration has been one of the biggest streaming hits in both the U.S. and the world since its release last Friday (Oct. 18): in its first four days of release, “APT.” earned 13.32 million U.S. on-demand streams, according to Luminate, while also topping Spotify’s global and U.S. daily streaming charts. Its daily streaming numbers also represent a positive sign for its continued momentum, as “APT.” started with 3.57 million U.S. streams on Friday, and cracked 3 million daily streams for each of the next three days, while also selling 5,700 downloads over that opening four-day period.

We’ll see how high “APT.” can bow on next week’s Hot 100, but there’s a great chance that the Mars assist will help ROSÉ score the highest-charting solo track from a member of K-pop superstars BLACKPINK; “One of the Girls,” the song from The Idol by The Weeknd, JENNIE and Lily Rose Depp, peaked at No. 51 last year, and both ROSÉ and LISA made it to No. 70 with “On the Ground” and “Rockstar,” respectively. Meanwhile, BLACKPINK’s highest-charting Hot 100 hit is their Selena Gomez collaboration “Ice Cream,” which peaked at No. 13. – JASON LIPSHUTZ

Viral Dance Trend & Unofficial GloRilla Mashup Boost 16-Year-Old Beyoncé Hit 

Despite being the target of a bizarre conspiracy campaign on TikTok, BeyoncĂ© has bounced back with her latest viral hit on the platform. According to Luminate, “Diva” — a single from her Billboard 200-topping I Am
 Sasha Fierce album that peaked at No. 19 on the Hot 100 in 2009 – earned over 737,000 official on-demand U.S. streams during the period of Oct. 11-17. That marks an eye-opening 108% increase from the 354,000 streams it collected during the period of Oct. 4-10. 

BeyoncĂ© has famously updated the original music video choreography for “Diva” with each successive tour and festival appearance. She’s also kept the song current by mixing it with trending hip-hop songs ranging from Future’s “F–k Up Some Commas” to Lil Uzi Vert’s “Just Wanna Rock.” On TikTok, a dance trend blending choreography from Queen Bey’s “Diva” renditions at Coachella 2018 and the Renaissance World Tour has gone viral, helping the song increase in streams. Donte Colley, a dancer and choreographer who went viral this year for the trend he sparked with Nicki Minaj’s “FTCU,” perfected the choreography combination and posted his original clip on Sept. 17. That clip has amassed over six million views, and a more recent video of him performing the routine (Oct. 6) has collected over 26.4 million views. Colley soundtrack his video with an unofficial mashup of “Diva” and GloRilla’s “TGIF” courtesy of DJ Jacob Dior. That TikTok sound now boasts over 64,000 posts, while the official “Diva” sound plays in over 343,000 posts. 

BeyoncĂ© may still be in her country era, but she’ll always be one of TikTok’s favorite divas. – KYLE DENIS

Start Spreading the Streams: Two New York Baseball Anthems Up Following Postseason Runs

The New York Mets’ high-octane run through the first two rounds of the MLB playoffs came to an end on Sunday night, as the Los Angeles Dodgers eliminated them in six games to move onto the World Series. It was still a highly memorable postseason for the Mets, who had previously won a thrilling back-and-forth three-game series against the Milwaukee Brewers and a less-suspenseful four-game drubbing of division rivals the Philadelphia Phillies – as well as a new good-luck charm in the form of McDonald’s mascot Grimace, and a new theme song in the crowd-pleasing “OMG.” 

The Latin pop banger – with a drawn-out “Oh! My! God!” chorus hook – became a Mets fan favorite (and a Billboard chart-topper) after being released in June by Candelita, artist identity of Mets shortstop JosĂ© Iglesias. The defensive stalwart’s breakout hit became a clubhouse anthem for the team, as the team also brought an “OMG” sign to the clubhouse, which they would pose for photos with anytime someone on the roster hit a home run. The song went viral nationally over the course of the Mets’ postseason run, rising by 523% in official on-demand U.S. streams from 146,000 on the tracking week ending Oct. 3 to nearly 910,000 for the week ending Oct. 17, according to Luminate. (A new remix of the song featuring Pitbull and Silvestre Dangond, released Oct. 11, no doubt also helped in those rising totals.) 

Those streams will likely die down in the weeks to come, following the Mets’ postseason elimination, but their Big Apple rivals in the Bronx will probably see their own longer-established singalong anthem continue to gain in the meantime. Frank Sinatra’s “Theme From ‘New York, New York,” which has served as the Yankees’ victory song for well over 40 years now, has risen 24% in streams to over 864,000 over the same two-week period. It saw an even bigger bump this past Sunday (Oct. 20), racking up 180,000 streams following the Yankees’ Cleveland Guardians-eliminating Game Five ALCS victory the night before – a 59% gain over the prior Sunday – as the Yanks head to face the Dodgers in the World Series, and more and more listeners want to be a part of it. – ANDREW UNTERBERGER

Goofy ‘Gilmore Girls’ Trend Lifts Decade-Old Years & Years Song 

Although Years & Years has effectively morphed into a solo project for Olly Alexander, the British electropop outfit is still snagging hits. Streams for “Breathe” — a cover of the 2003 Blu Cantrell and Sean Paul hit that appears on the super deluxe edition of the band’s 2015 Communion LP – have risen by over 100% for the past three weeks. During the period of Oct. 11-17, the track earned nearly 1.4 million official on-demand U.S. streams, marking a whopping 1,603% increase from the 81,000 streams it earned during the period of Sept. 27-Oct. 3. 

A Sept. 17 TikTok post laying a Gilmore Girls clip over the Years & Years track is responsible for the streaming boost. In the original clip, Kirk Gleason tells the father of his love interest, “I love your daughter.” The father then replies, “Who are you to love my daughter? What do you have to offer her?” “Nothing,” Kirk responds. “Only this.” He then breaks out into an improvised dance number soundtracked by “Breathe.” TikTok users have quickly put their own spin on the scene, with some opting to act as Kirk and show off goofy dance moves of their own. The audio from the original TikTok post, courtesy of user @clozvr, currently plays in over 145,000 clips, while another unofficial sound boasts over 39,000 posts. There are also over 210,000 posts currently attached to the official “Breathe” sound. 

Years & Years have never had a Hot 100 entry, but if the streams for “Breathe” continue to increase, there’s a possibility that they will change that.Â