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Sam Smith and Kim Petras parade to No. 1 on Billboard‘s Dance/Mix Show Airplay chart (dated Dec. 3) with “Unholy.” The song is Smith’s third leader on the list, following “Diamonds” (for a week in December 2020) and “Promises,” with Calvin Harris (two weeks, 2018). Petras scores her first No. 1 on the survey.
“Unholy” drew core-dance airplay, via its Disclosure remix, on Music Choice’s Dance/EDM channel, KMVQ-HD2 San Francisco and WZFL (Revolution 93.5) Miami, among other signals, in the Nov. 21-27 tracking week, according to Luminate. (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.)
Additionally remixed by Acraze, “Unholy” became the first leader for both Smith and Petras on the Oct. 29-dated Billboard Hot 100. Speaking of Acraze – just crowned atop Billboard‘s Top New Dance/Electronic Artists recap for 2022 – “Believe,” featuring Goodboys, debuts on both Dance/Mix Show Airplay (No. 40) and the multi-metric Hot Dance/Electronic Songs chart (No. 47). It samples Coco Star’s 1996 track “I Need a Miracle,” which was popularized when Fragma sampled it in 2000’s “Toca’s Miracle.”
“Believe” is Acraze’s follow-up to “Do It to It” (featuring Cherish), which hit Nos. 2 and 3 on Dance/Mix Show Airplay and Hot Dance/Electronic Songs, respectively.
Staying with the Dance/Mix Show Airplay chart, Taylor Swift storms into the top 10 with her current Hot 100 leader “Anti-Hero” (11-7). It’s her ninth top 10 among 17 charted titles, dating to the debut of “We Are Never Ever Getting Back Together” (No. 21 peak, 2012). Swift led with “Wildest Dreams,” remixed by R3HAB, for a week in 2015.
“Anti-Hero” has drawn core-dance support for its Kungs remix on iHeartRadio’s Pride Radio and for its Jayda G remix on SiriusXM’s Diplo’s Revolution. The song, additionally remixed by Roosevelt, ILLENIUM and others, is also collecting airplay on Channel Q.
Additionally on Dance/Mix Show Airplay, Regard reaps his sixth top 10 and Drop G earns his first with “No Love for You” (19-8). Plus, Nicki Minaj notches her 10th top 10 with “Super Freaky Girl” (12-9).
Shifting to the Top Dance/Electronic Albums chart, The Prodigy returns at No. 13 with its breakthrough The Fat of the Land, following its reissue as a 25th-anniversary double silver vinyl release. The 1997 set previously appeared on the chart, also at No. 13, for a week in 2019; its original release pre-dated the tally’s 2001 inception. The Prodigy has notched five Top Dance/Electronic Albums top 10s, including its 2004 two-week No. 1 Always Outnumbered, Never Outgunned.
Land, which includes signature songs “Firestarter” (No. 30 on the Hot 100, 1997), “Smack My Bitch Up” (No. 89 on the Hot 100, 1998) and “Breathe” (No. 18 on Alternative Airplay, 1997), earned 3,000 equivalent album units in the tracking week. It debuted at No. 1 on the Billboard 200 in July 1997.
Kenshi Yonezu‘s “KICK BACK” returns to No. 1 on the Billboard Japan Hot 100, dated Nov. 30, topping the chart for the second time after six weeks.
The CD version of the Chainsaw Man opener went on sale during the chart week and launched with 289,147 copies. The single rules sales and video (increasing 57.1 percent from 2,772,899 to 4,356,710 weekly views), while also coming in at No. 2 for streaming and No. 3 for downloads, look-ups, Twitter mentions, karaoke, and radio airplay. The points for this track across all metrics added up to 20,784 this week, which is the second highest for any single this year following Yonezu’s own record for the Shin Ultraman theme “M87” (20,881 points).
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After hitting No. 1 on the chart released Nov. 16, King & Prince’s “Tsukiyomi” continues to hold in the top 10 of the Japan Hot 100, rising 7-3 this week. Weekly sales for the single increased by 147.5 percent from 32,441 to 80,306 copies, lifting the track a notch to No. 3 for the metric. While the song slips to No. 2 for video (dropping 10 percent to 3,564,897 views), it rises 2-1 for Twitter this week, and nine songs in the top 10 for the metric are King & Prince numbers. The untiring support from the currently five-member Johnny’s group’s fans has boosted the total points for “Tsukiyomi” by 47.3 percent from the previous week to 9,400 points, elevating it back into the top 3 on the Japan Hot 100.
The excitement generated by the 2022 FIFA World Cup has fueled King Gnu‘s “Stardom” into the top 10 this week, moving 16-8. The song is being featured in NHK’s soccer broadcasts and has risen significantly in a number of metrics: streaming increased by 108.3 percent to 4,189,640 weekly streams (69-17), and radio by 146.6 percent (9-2). It remains to be seen how the ongoing enthusiasm surrounding the World Cup will affect this and other songs related to the broadcasts in Japan.
The Billboard Japan Hot 100 combines physical and digital sales, audio streams, radio airplay, Twitter mentions, YouTube and GYAO! video views, Gracenote look-ups and karaoke data.
Check out the full Billboard Japan Hot 100 chart, tallying the week from Nov. 21 to 27, here. For more on Japanese music and charts, visit Billboard Japan’s English Twitter account.
For the second consecutive year, a British artist leads the year-end Billboard Global 200 songs chart. Dua Lipa passes the torch to Harry Styles, who leads the list with “As It Was.” A year ago, Lipa’s “Levitating” was tops. (“As It Was” also leads the 2022 year-end Billboard Global Excl. U.S. chart.)
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Meanwhile, Bad Bunny finishes 2022 at No. 1 on both the Billboard Global 200 Artists and Billboard Global Excl. U.S. Artists roundup.
Explore All of Billboard’s 2022 Year-End Charts
Styles’ year-end triumph on the Billboard Global 200 is especially impressive considering “As It Was” missed the first 22 weeks of the tracking period, debuting atop the April 16-dated chart. During that span, six different songs topped the survey, including Glass Animals’ evergreen “Heat Waves,” which reigned from March 5 until April 9.
But “As It Was” arrived, fully formed, at No. 1 where it began a record-setting 15-week run on top. Further, the song spent its first 20 weeks at Nos. 1 or 2, first 24 weeks in the top three, and first 29 weeks inside the top five. Despite missing the first five months of the 2022 chart year, the track’s hyper-focus in the upper reaches of the survey during the eligibility period combined to make it the chart’s strongest song performer of the year.
“As It Was” repeats at No. 1 on the year-end ranking for Billboard Global Excl. U.S. chart, becoming the first song to top both lists’ year-end tallies – though the year-end rankings only began in 2021. (The Global 200 and Global Excl. U.S. chart launched in September 2020, but their first year-end recaps were produced in 2021.)
Beyond Styles’ repeat at No. 1, both global year-end charts share the same top 10 songs, though in slightly different orders. Glass Animals follows at No. 2 on both charts with “Heat Wave,” while crowning the year-end Billboard Hot 100 Songs list. On all three weekly surveys, it set a record for the longest trip to No. 1.
The rest of the Billboard Global 200 top 10 includes Ed Sheeran (twice), GAYLE, and Adele, plus collaborations from Elton John and Dua Lipa, The Kid LAROI and Justin Bieber, Imagine Dragons and JID, and The Weeknd and Ariana Grande. Two of those duets – “Stay” by The Kid LAROI and Bieber and “Save Your Tears” by The Weeknd and Grande — also placed in the top 10 on both year-end lists in 2021.
Bad Bunny is the No. 1 artist on both charts’ year-end recaps. Though already omnipresent on the two Global charts with material from his pair of 2020 releases, 2022’s Un Verano Sin Ti secured his No. 1 spot. All 23 songs from the album debuted on the May 21-dated rankings and logged a combined 81 weeks in the Billboard Global 200’s top 10 between then and the end of the 2022 tracking period.
Bad Bunny scores 12 songs on the year-end Billboard Global 200 chart and 10 on the corresponding Global Excl. U.S. list, taking up more than 10% of the year-end global rankings.
He is followed by Latin artists Rauw Alejandro, Karol G, Farruko and Chencho Corleone in the top 30 both of artist rankings. Elsewhere, South Korea’s BTS and BLACKPINK represent for non-English-language acts.
Billboard’s year-end music recaps represent aggregated metrics for each artist, title, label and music contributor on the weekly charts dated Nov. 20, 2021 through Nov. 12, 2022. The rankings for Luminate-based recaps reflect equivalent album units, airplay, sales or streaming during the weeks that the titles appeared on a respective chart during the tracking year. Any activity registered before or after a title’s chart run isn’t considered in these rankings. That methodology details, and the November-November time period, account for some of the difference between these lists and the calendar-year recaps that are independently compiled by Luminate.
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Billboard’s Top Gospel Artist of 2022 is Kanye West, who concurrently reigns as the top male artist of the year. West repeats, marking two years straight that he leads both categories.
The multi-genre superstar is simultaneously the Top Christian Artist of 2022. West reigns again mostly due to the staying power of his second faith-based album, Donda, which is No. 1 on the year-end Top Gospel Albums list.
Billboard’s year-end music recaps represent aggregated metrics for each artist, title, label and music contributor on the weekly charts dated Nov. 20, 2021 through Nov. 12, 2022. The rankings for Luminate-based recaps reflect equivalent album units, airplay, sales or streaming during the weeks that the titles appeared on a respective chart during the tracking year. Any activity registered before or after a title’s chart run isn’t considered in these rankings. That methodology details, and the November-November time period, account for some of the difference between these lists and the calendar-year recaps that are independently compiled by Luminate.
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On the Billboard charts dated Sept. 11, 2021, Donda started with a splash. It debuted in the penthouse on the all-genre weekly Billboard 200 plus Top Gospel Albums and Top Christian Albums with 309,000 equivalent album units earned in the U.S., according to Luminate.
It marked West’s 10th Billboard 200 leader and his second No. 1 on Top Gospel Albums (as well as Top Christian Album).
Donda followed his first spiritual LP, Jesus is King, which crowned both lists as well as the Billboard 200. King started with 264,000 weekly units in November 2019, which was a record at the time on the two faith-based tallies.
On the weekly Top Gospel Albums chart, Donda has held the summit every week during 2022. Donda is second to only Jesus is King on the list for the longest reigning titles in the history of Top Gospel Albums which started in 1983. Both sets are north of 65 frames each.
As for the top albums of 2022 Donda is No. 1 while Jesus is King ranks at No. 5.
Plus, West holds the Nos. 1 and 2 positions of the year on the year-end streaming-, airplay and sales based Hot Gospel Songs tally with “Praise God” at No. 1 and “Hurricane” at No. 2.
The top female gospel artist of the year is CeCe Winans, who is No. 4 among all acts. Winans was also the leading woman of 2021.
Winans’ LP Believe For It: A Live Worship is No. 3 on the Top Gospel Albums’ year-end tally. The set entered at No. 1 in March 2021 becoming her ninth No. 1. It ruled for seven weeks and has spent all of 2022 in the top 10.
The LP’s title track is the No. 8 song of 2022 on Hot Gospel Songs.
“Believe” dominated the weekly version of the multi-metric ranking for 12 weeks beginning in June and led Gospel Airplay for two frames starting on Jan. 29.
Winans’ “Goodness of God,” is the No. 2 track of 2022 on Gospel Digital Song Sales. The song rang up 13 weeks atop the list after it reached the penthouse in February, giving Winans her third leader.
“Goodness” reached No. 6 on Hot Gospel Songs in October, her fifth top 10.
Billboard’s top duo/group of 2022 and No. 2 among all acts is the Atlanta-based worship collective Maverick City Music.
Old Church Basement, the collaborative project with popular Christian act Elevation Worship, ranks as the Top Gospel Albums No. 2 LP of 2022. Basement, which opened at No. 1 on Top Gospel Albums in May 2021 with 19,000 units, has been in the top 3 for the entirety of 2022.
Maverick City Music posts two of its songs inside the top 5 on Hot Gospel Songs’ top tracks of 2022: “Promises,” featuring Joe L. Barnes and Naomi Raine is at No. 3, and “Jireh,” a collaboration between Maverick City Music and Elevation Worship is the No. 4 title for 2022.
“Jireh” also crowns the year-end ranking on Gospel Digital Song Sales.
Gospel music’s top new act of 2022 is E. Dewey Smith, whose rookie single, “Your Presence Is a Gift,” topped Gospel Airplay on the survey dated April 30. It peaked at No. 18 on Hot Gospel Songs.
Smith is based in Macon, Ga., and serves as the senior pastor and teacher at The House of Hope church in Atlanta.
Smith also released the holiday-themed album Let Praises Ring which arrived and peaked at No. 7 on Top Gospel Albums last December.
Most songs wouldn’t be the No. 1 on Billboard’s year-end Hot Rock & Alternative Songs chart – or any other genre-based chart of a similar ilk, for that matter – two years after its initial release.
But “Heat Waves,” Glass Animals’ still-inescapable No. 1 of the year, isn’t most songs.
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A year after “Heat Waves” climbed to No. 2 on the year-end ranking (alongside Glass Animals’ own first-time rule on the 2021 Top Rock & Alternative Artists survey), the Dreamland tune lifts to No. 1 for 2022, staving off challenges from songs released in 2021, 2020 and even 1985. Which is of course emblematic of the music industry as a whole as 2022 comes to a close: old can be new, two years isn’t necessarily too long a runway against which to gauge a song’s success, and what seemed to work to break an act years ago may not be part of the playbook anymore.
Thank TikTok and other short-form video apps especially. The year-end Hot Rock & Alternative Songs chart’s top 10, after all, is full of success stories from that corner of the Internet – and there’s even more to discover in the top 20, the top 30 and so on.
“Heat Waves” famously cracked the code in 2021, driving the song to an eventual 37-week reign on the weekly Hot Rock & Alternative Songs list that began in September 2021 and only concluded for good in June 2022.
“Heat Waves’” tremendous success fuels Glass Animals’ finish at No. 1 on the 2022 Top Rock & Alternative Artists recap.
Billboard’s year-end music recaps represent aggregated metrics for each artist, title, label and music contributor on the weekly charts dated Nov. 20, 2021 through Nov. 12, 2022. The rankings for Luminate-based recaps reflect equivalent album units, airplay, sales or streaming during the weeks that the titles appeared on a respective chart during the tracking year. Any activity registered before or after a title’s chart run isn’t considered in these rankings. That methodology details, and the November-November time period, account for some of the difference between these lists and the calendar-year recaps that are independently compiled by Luminate.
The No. 2 Hot Rock & Alternative Songs title of the year, GAYLE’s “Abcdefu,” initially blew up on TikTok in late 2021 and climbed to No. 2 on the weekly survey. Imagine Dragons and JID’s “Enemy,” the No. 3? It did well on TikTok alongside its radio and streaming success after its initial premiere as the theme song to Netflix’s Arcane: League of Legends.
Speaking of Netflix: count the film and TV streaming service as one of the other main drivers of success on the Billboard charts in 2022. It singlehandedly caused the return of 1985’s “Running Up That Hill (A Deal With God),” previously a No. 30 hit for Kate Bush that year on the Billboard Hot 100. In fact, it wasn’t so much a return to form as it was a new cultural high for the song, which eventually peaked at No. 3 on the Hot 100 and ruled Hot Rock & Alternative Songs for 11 weeks once the reign of “Heat Waves” had ended.
“Hill” wasn’t a flash in the pan brought about by a quick sync in film or TV, as is sometimes seen in the entertainment industry. It was reserviced to radio, playing a part in prolonging its impact alongside the song’s return in Stranger Things’ second part of its fourth season later in the summer. All told, it’s the No. 4 song on the year-end Hot Rock & Alternative Songs list and ranked as the No. 1 on the year-end Rock Digital Song Sales tally, while alternative radio stations embraced it to the point that it appears at No. 17 on the Alternative Airplay Songs year-end survey.
And that wasn’t all for Stranger Things. Released a year after “Hill” in 1986, Metallica’s “Master of Puppets” boasted similar virality with its sync in the back-end of the fourth season, reaching the Hot 100 for the first time (peaking at No. 35 in July) and crowning the weekly Hot Hard Rock Songs chart for nine weeks, a run that drove the song to be No. 1 on the latter’s year-end ranking while Metallica itself is the year’s Top Hard Rock Artist. All that for a band that last released an album of fully new material in 2016, while Bush last did so in 2011.
Other TikTok and streaming successes include Zach Bryan and Steve Lacy, who rank as the Nos. 1 and 2 artists on the New Top Rock & Alternative Artists chart for 2022, respectively. Both, in addition to rock and/or alternative cred, create music difficult to neatly assign to just one overarching genre – Bryan in the country and folk corners of the industry, Lacy with material spanning pop, R&B and soul.
Bryan’s chart success was buoyed not only by his 34-song major label debut American Heartbreak and subsequent EP Summertime Blues (the former crowning the weekly Top Rock & Alternative Albums survey for eight weeks) – he also boasted entries in the chart year from the self-released DeAnn from 2019 and Elisabeth from 2020.
In addition to ranking at No. 1 on the new artists rundown, Bryan also appears at No. 3 on the Top Rock & Alternative Artists list for 2022.
Lacy, meanwhile, sported chart hits from 2022 album Gemini Rights as well as the 2017 TikTok trender “Dark Red,” reaching the top 10 of the year-end Rock Streaming Songs list twice, with “Bad Habit” at No. 3 and the aforementioned “Red” at No. 10. “Habit” even climbed to No. 1 on the Hot 100, reigning for three weeks late in the year.
Bryan, Lacy and Bush are three of six soloists in the top 10 of Top Rock & Alternative Artists, exemplifying the continued rise of single-person acts on the rock and alternative charts. They’re joined by Billie Eilish, GAYLE and Machine Gun Kelly at Nos. 5, 6 and 8, respectively. In no other year since Top Rock & Alternative Artists (formerly Top Rock & Artists) began in 2011 did more than four soloists reach the top 10.
By the way, Eilish was no slouch in 2022. She’s No. 1 on the Top Alternative Artists chart for 2022 and boasts the No. 1 on the year-end Top Alternative Albums ranking: Happier Than Ever, initially released in August 2021 and the No. 5 entry on the 2021 recap.
The year-end radio tallies see Red Hot Chili Peppers return in a big way following a pair of albums, Unlimited Love and Return of the Dream Canteen, the band’s first LPs since 2016’s The Getaway and the pair that marks the return of guitarist John Frusciante to the fold.
“Black Summer,” the lead single from the first release, comes in as the No. 1 Top Rock & Alternative Airplay song of the year and the No. 2 Alternative Airplay song, while also appearing at No. 6 on the year-end Top Mainstream Rock Airplay list.
The band is kept from No. 1 on the Alternative Airplay recap by the aforementioned “Enemy” from Imagine Dragons and JID, a juggernaut that’s now spent over a year on the weekly list, including nine weeks at No. 1 early in the year. Imagine Dragons last crowned the year-end Alternative Airplay song ranking in 2017 with “Believer.”
The Black Keys nab the No. 1 on Adult Alternative Airplay Songs for the year with “Wild Child,” the band’s first to do so since “Fever” in 2014, while Spoon ranks atop the artist-based survey after a trio of hits at the format, one of which – “The Hardest Cut” ruled for three weeks. And at Mainstream Rock Airplay, it’s perennial heavyweight Three Days Grace who takes top artist and song honors with “So Called Life,” their first time ruling the latter since “Break” led 2010’s year-end tally.
Nobody has been able to unseat Benito Antonio Martinez Ocasio as the year’s Top Latin Artist for the last three years, and 2022 is no different as Bad Bunny crosses the finish line at No. 1 for a fourth consecutive year.
Notably, 2022 marks the eighth straight year that a male finishes atop the ranking (since Jenni Rivera’s 2013 domination). Before Bad Bunny’s four-year rule, Ozuna was the 2018 champ, preceded by Daddy Yankee in 2017, the late Juan Gabriel in 2016, and a back-to-back command by Romeo Santos in 2014-15.
Billboard’s year-end music recaps represent aggregated metrics for each artist, title, label and music contributor on the weekly charts dated Nov. 20, 2021 through Nov. 12, 2022. The rankings for Luminate-based recaps reflect equivalent album units, airplay, sales or streaming during the weeks that the titles appeared on a respective chart during the tracking year. Any activity registered before or after a title’s chart run isn’t considered in these rankings. That methodology details, and the November-November time period, account for some of the difference between these lists and the calendar-year recaps that are independently compiled by Luminate.
Explore All of Billboard’s 2022 Year-End Charts
Bad Bunny upholds his ‘YHLQMDLG’ (short for “I do whatever I want”) stance releasing all-Spanish-language tunes to global audiences without reservations. He’s secured a global fanbase thanks largely to his knack for melding rhythmic melodies with elements from multiple genres, zigzagging from one format to another within the same song, which translated into a provoking shift in Latin music. Thanks to his solid chart performance, in addition to completing the year at No. 1 on the year-end Top Latin Artists chart, the Puerto Rican adds more achievements to his resumé in 2022, taking home the trophies for Top Latin Artist – Male, Hot Latin Song, and Top Latin Album.
Bad Bunny continues as the No. 1 Top Latin Artist for a fourth straight year thanks to his extraordinary success during the 2022 chart year on both the weekly Top Latin Albums chart and Hot Latin Songs chart, as well as his blockbuster concert earnings as reported to Billboard Boxscore.
His latest album, Un Verano Sin Ti, arrived at No. 1 on the weekly Top Latin Albums, Latin Rhythm Albums and all-genre Billboard 200 charts (dated May 21, 2022). On both Top Latin Albums and Latin Rhythm Albums, it spent the rest of the 2022 chart year at No. 1. On the Billboard 200, it notched 13 nonconsecutive weeks in the lead.
The set opened with 274,000 equivalent album units earned in its first week in the U.S., according to Luminate, the largest weekly sum by a Latin album during the 2022 chart year. Concurrent with the album’s debut, mammoth streaming numbers (356.66 million on-demand official streams of the set’s tracks) yielded a Bad Bunny monopoly of the entire top nine on the Hot Latin Songs chart the same week. In addition, he broke the record for the most simultaneous titles on the chart in the same week, placing a total of 24 on the list (23 from the album).
Benito also takes the year’s No. 1 on the Hot Latin Songs recap, with “Me Porto Bonito,” a co-billed collaboration with Chencho Corleone. It hovered at No. 1 for 20 weeks on Hot Latin Songs after the superstar ceded the throne to one of his own in October: “Titi Me Preguntó.” “Bonito” concurrently earned Corleone his first champ on the multi-metric ranking.
Bad Bunny has seven of the year-end top 10 songs on the Hot Latin Songs roundup – all from his Un Verano Sin Ti album.
Karol G’s Still Got It: Karol G is No. 1 on the year-end Top Latin Artists – Female chart for a fourth consecutive year. She’s also No. 2 on the overall Top Latin Artists chart – the only female act in the top 10. The success comes after her strong showing in 2022 with her fusion of Colombian rhythmic tunes with pop and Afrobeats – and some big collaborations.
Her 2021 chart-topping album KG0516 spent nearly the entire 2022 chart year in the weekly top 10 of the Top Latin Albums chart, while she notched multiple new hits on the Hot Latin Songs chart, including two No. 1s in “Mamiii,” with Becky G, and “Provenza” (“Mamiii” also marked Becky G’s first No. 1 on the tally).
“Mamiii” spent 10 weeks at No. 1 on Hot Latin Songs and also topped the weekly Latin Airplay, Latin Pop Airplay, Latin Rhythm Airplay, Latin Digital Song Sales and Latin Streaming Songs charts. The song was soon overtaken by its follow-up “Provenza.” As it debuted at No. 2 on Hot Latin Songs, Karol G became only the second woman, after Selena, to hold Nos. 1 and 2 at the same time since 1995.
“Mamiii” and “Provenza” close 2022 at Nos. 4 and 5 on the year-end Hot Latin Songs recap – the only two songs in the top five that are not by Bad Bunny.
Eslabon Armado & Ivan Cornejo Makes Waves for Regional Mexican Music: In a notable showing for the regional Mexican genre during the year, two regional Mexican acts snag the No. 1 spots on key overall Latin recaps. Eslabon Armado is the Top Latin Artist – Duo/Group, while Ivan Cornejo is the Top New Latin Artist.
Eslabon Armado hit its stride in 2022. As the group’s fifth studio album Nostalgia was released, the California-based group made a historic debut across Billboard’s albums charts: it bowed atop Regional Mexican Albums (ruling for six weeks), in the top 10 on Top Latin Albums, while becoming the first top 10-charting regional Mexican album ever on the all-genre Billboard 200. Meanwhile, “Te Encontré,” a collab with Ulices Chaidez, topped Regional Mexican Airplay for one week — its first ruler there.
On Hot Latin Songs, Eslabon Armado charted more hits during the 2022 chart year than any other duo/group – 11.
Ivan Cornejo quickly rose as a favorite among Latin artists fueled by his popularity on TikTok. He took a first shot uploading a requinto cover of regional Mexican artist Esteban Gabriel’s “Hay Niveles” with instant credit from the singer. The 18-year-old crashed in the Latin charts in Oct. 2021, scoring his first top 10 on Hot Latin Songs with single “Está Dañada.” In addition to becoming a fixture on TikTok, the track became just the second title by a regional Mexican act to snatch an entry on the Billboard Hot 100, a list devoid of regional Mexican tunes until the arrival of Gera MX and Christian Nodal’s “Botella Tras Botella” in May of 2021.
Cornejo, who captures the Top New Latin Artist honors, saw his sophomore album Dañado open at No. 1 on the weekly Regional Mexican Albums chart (and spend most of the rest of the 2022 chart year atop the list). On the Top Latin Albums tally, it reached No. 3 and spent months in the top 10.
Further, Cornejo visited the all-genre Billboard 200 for a second time, becoming the fourth regional Mexican act to secure an entry there in 2022 (trailing Junior H, Yahritza y Su Esencia and Eslabon Armado).
Yahritza y Su Esencia’s Youthful Takeover: The regional Mexican genre, meanwhile, caps off the year with a mounting presence on the Billboard charts, thanks in part to the younger generations of singer-songwriters who are setting new rules as they experiment with different sounds. Such is the case of Yahritza y Su Esencia, who finish at No. 2 on the year-end Top New Latin Artists recap.
The Mexican American outfit burst out of the gate earlier in the year with unprecedented speed as its debut single, “Soy El Único,” went viral upon its release thanks to TikTok. The momentum yielded a No. 1 start on the weekly Hot Latin Songs and a top 20 debut on the all-genre Billboard Hot 100 chart (making the sibling trio the highest-ranked regional Mexican act in the 64-year-old chart).
“Soy El Único” closes 2022 at No. 34 on the year-end Hot Lating Songs recap while Yahritza y Su Esencia also places at No. 5 on the Top Latin Artists – Duo/Group roundup.
Dance Genre Growth: Dance generated a big impact in Latin music this year. The genre grew at a lightning-fast pace among Latin heavy hitters. A clear example is Farruko and his ubiquitous “Pepas” which led Hot Latin Songs for 14 weeks during the tracking period (a total of 26 weeks in command). The song earned the Puerto Rican – who first reached the chart in 2014 – his first No. 1 on the weekly Hot Latin Songs chart. The track closes 2022 as the No. 9 title on the year-end Hot Latin Songs recap and at No. 3 on the year-end Hot Dance/Electronic Songs roundup.
Other Latin powerhouses dabbling with EDM include Karol G, whose team-up with Tiesto, “Don’t Be Shy,” reached No. 4 on Hot Dance/Electronic Songs (it’s No. 35 on the year-end Hot Dance/Electronic Songs recap), while Skrillex’s partnership with Jhayco on “En Mi Cuarto” and with J Balvin on “In Da Getto” also nabbed a space on the tally (the latter is No. 37 for the year).
Further, Bad Bunny and Jhay Cortez’s “Dakiti” remained in the top 10 on Hot Latin Songs for 25 weeks during the tracking frame (previously topping the list for 27 weeks). It’s No. 13 on the year-end Hot Latin Songs chart.
On a global level, Bizarrap and Quevedo’s “Bzrp Music Sessions, Vol. 52” became a major hit. The club anthem translated into the former’s first top 10 on Hot Latin Songs and the latter’s first career entry there. Plus, both acts made their first trips to the top of the Global 200 and Global Excl. U.S. charts. On the year-end charts, it’s No. 33 on Hot Latin Songs, No. 12 on Hot Dance/Electronic Songs, No. 38 on the Billboard Global 200 and No. 21 on the Global Excl. U.S. recap.
Drake reigns as Billboard‘s Top Dance/Electronic Artist for the first time in 2022, thanks to the success of his underground house-focused album Honestly, Nevermind. The set also finishes as the year’s Top Dance/Electronic Album.
With just the singular performance of Honestly, Nevermind, Drake edges out Lady Gaga as the Top Dance/Electronic Albums Artist, who closes the year at No. 2 off the strength of her five charting albums during the chart year. Gaga is also No. 2 on the overall Top Dance/Electronic Artists list, after ending 2020 and 2021 at No. 1.
Explore All of Billboard’s 2022 Year-End Charts
Honestly debuted at No. 1 on the July 2-dated weekly edition of the Top Dance/Electronic Albums chart, amassing 19 weeks at No. 1 in the chart year. Drake sat at the summit every week since except one, when Madonna bowed at No. 1 with her career-spanning remix collection Finally Enough Love on September 3. Drake’s 19 weeks at the top were second only to Lady Gaga’s 25 with The Fame: no other album totaled more than one frame at No. 1 in the 2022 chart year.
Drake also completes 2022 at No. 3 on the multi-metric Hot Dance/Electronic Songs Artists chart, with 10 Honestly tracks, the most of all acts, finishing the year in the Hot Dance/Electronic Songs top 50, led by “Massive” at No. 11. “Falling Back,” which became Drake’s first Hot Dance/Electronic Songs No. 1 (July 2), comes in at No. 15 on the year-end list. The album spawned six additional top 10s (eight in total) during the year, with year-end finishes as follows: “Texts Go Green” (No. 17), “A Keeper” (No. 18), “Calling My Name” (No. 19), “Currents” (No. 22), “Flight’s Booked” (No. 23) and “Overdrive” (No. 40).
Billboard’s year-end music recaps represent aggregated metrics for each artist, title, label and music contributor on the weekly charts dated Nov. 20, 2021 through Nov. 12, 2022. The rankings for Luminate-based recaps reflect equivalent album units, airplay, sales or streaming during the weeks that the titles appeared on a respective chart during the tracking year. Any activity registered before or after a title’s chart run isn’t considered in these rankings. That methodology details, and the November-November time period, account for some of the difference between these lists and the calendar-year recaps that are independently compiled by Luminate.
Speaking of the year-end Hot Dance/Electronic Songs chart, Elton John and Dua Lipa hold the No. 1 spot with “Cold Heart (PNAU Remix).” The inventive pop/dance remixed track, which references John classics “Rocket Man” and “Sacrifice,” spent 32 weeks at No. 1 on the weekly chart during the year, almost three times as many as any other song (Beyonce’s Grammy-nominated “Break My Soul” was next, with 11 weeks at No. 1; more on her below).
“Heart” first hit No. 1 on October 23, 2021, compiling four frames at No. 1 prior to the chart year; its 36 total weeks at No. 1 are second only to the 69 chart-topping weeks achieved in 2018-20 by Marshmello and Bastille’s “Happier” since the Hot Dance/Electronic Songs chart’s January 2013 inception.
Elton John also ends the year as the No. 1 Hot Dance/Electronic Songs Artist. He was the only artist to register more than one leader on the Hot Dance/Electronic Songs chart in 2022, as in September he teamed with Britney Spears to follow “Heart” with “Hold Me Closer,” which also referenced John’s hits, including “Tiny Dancer,” “The One” and “Don’t Go Breaking My Heart.” John is also the only act with more than one song in the year-end Hot Dance/Electronic Songs top 10, with “Closer” coming in at No. 9.
“Heart” also ends 2022 at No. 1 on the Dance/Electronic Streaming Songs and Dance/Electronic Digital Song Sales charts, earning 32 weeks apiece at No. 1 during the year on both lists; the longest span of any song. Plus, John completes 2022 at No. 1 on the Dance/Electronic Digital Song Sales Artists chart, while Drake takes No. 1 honors on Dance/Electronic Streaming Songs Artists.
Circling back to Beyoncé, she finishes 2022 as the No. 2 Hot Dance/Electronic Songs Artist, with her Renaissance album leading to her first four Hot Dance/Electronic Songs top 10s, including the aforementioned “Break My Soul,” “Summer Renaissance,” “Pure/Honey” and “Thique.” “Break,” with its interpolation of Robin S.’s “Show Me Love,” ends at No. 2 on the Hot Dance/Electronic Songs year-end list, as it earned top 10 finishes on Dance/Electronic Digital Song Sales (No. 2), Dance/Electronic Streaming Songs (No. 4) and Dance/Mix Show Airplay (No. 8).
David Guetta, who was the No. 1 Top Dance/Electronic Artist of 2015, had another banner year in 2022, this time finishing at No. 6 on the list. Guetta earned 16 chart entries on Hot Dance/Electronic Songs in 2022, the most of all acts (his 72 charted titles in the Hot Dance/Electronic Songs chart’s history leads all acts too). His collaboration with Bebe Rexha, “I’m Good (Blue),” became Guetta’s second career leader in October, spending seven weeks at No. 1 on Hot Dance/Electronic Songs (a total which continues to increase at press time); besides “Heart” and “Break,” “Good” was the only song to spend multiple frames at No. 1 in 2022.
The Grammy-nominated “Good,” based upon an interpolation of Eiffel 65’s 2000 Eurodance smash “Blue (Da Ba Dee),” grabs the No. 6 spot on the year-end Hot Dance/Electronic Songs chart. It was also No. 4 for 2022 on the Dance/Electronic Digital Song Sales list, with Guetta also garnering a No. 4 finish on the Dance/Electronic Digital Song Sales Artists chart.
Shifting gears, Acraze is the No. 1 Top Dance/Electronic New Artist, with his breakthrough hit, “Do It To It,” featuring Cherish, securing top 10 finishes on both the Hot Dance/Electronic Songs (No. 6) and Dance/Electronic Digital Song Sales (No. 7) tallies. “Do It” did it at No. 3 on Hot Dance/Electronic Songs for 12 weeks, from December-March, and the track even crossed to the Billboard Hot 100, darting as high as No. 65 in January.
Kordhell comes in second on the Top Dance/Electronic New Artist list, as his viral hit “Murder In My Mind” made it to No. 7 on Hot Dance/Electronic Songs in October. Another viral act, Dxrk, ranked third on the Top Dance/Electronic New Artist tally, with his “Rave” reaching No. 9 on Hot Dance/Electronic Songs in May.
Sickick was fourth on the Top Dance/Electronic New Artist list, thanks to two viral tracks: “I Can Feel It” (which mashes up Phil Collins’ “In The Air Tonight” and Michael Jackson’s “Remember The Time”) and “Frozen,” Madonna’s 1998 Ray of Light electronic ballad which began as a remix and became a collaboration with Madonna, Fireboy DML and 070 Shake.
Meanwhile, Doja Cat clawed her way to No. 1 on the Dance/Mix Show Airplay Artist listing, with six titles hitting the chart during the year (only second to Guetta’s seven), including top 10s “Get Into It (Yuh)” and “Vegas.” Consistency and longevity was Doja’s strategy, as all six of her songs peaked between Nos. 10 and 12, with three logging 20 weeks or more on the chart.
Harry Styles shined bright as the No. 2 Dance/Mix Show Airplay Artist, with his “As It Was” ending as the No. 1 Dance/Mix Show Airplay Song. Next on that year-end list, at No. 2, is Kx5’s first offering, “Escape,” featuring Hayla. “Escape” spent eight weeks at No. 1 from April-June; only “Cold Heart” reigned for longer. Kx5, the team of Deadmau5 and Kaskade (new as an entity in 2022), also finishes at No. 5 on the Top Dance/Electronic New Artist list.
Since Drake dropped his debut album, Thank Me Later, in 2010, he’s enjoyed a yearly coronation more often than not: For the seventh time in the past 13 years, the superstar caps the year as Billboard’s Top R&B/Hip-Hop Artist. He first achieved the rank in 2012, ran a four-peat from 2015-18, and reclaimed the MVP title last year. With seven rings, the 6 God firmly stands in a class of his own, three ahead of his nearest challenger, R. Kelly, who headed the year-end recap four times.
Unsurprisingly, Drake also repeats on the Top Rap Artists chart, which debuted last year. Beyoncé, meanwhile, rules 2022’s Top R&B Artists recap, now in its second year.
Explore All of Billboard’s 2022 Year-End Charts
Drake traces his success this year to the endurance of his 2021 album, Certified Lover Boy and 2022 release Honestly, Nevermind. The former also wraps 2022 at No. 1 on the Top R&B/Hip-Hop Albums recap, while the latter finishes at No. 21. Certified, which contains hits like “Way 2 Sexy,” featuring Drake and Tems, “Knife Talk,” with 21 Savage and featuring Project Pat and the Travis Scott-assisted “Fair Trade,” never fell below No. 13 on the weekly Top R&B/Hip-Hop Albums recap during the chart year. Further, with its 10 weeks at No. 1 to date, it’s only Drake’s second album to reach the double-digit mark, after Take Care and its 12-week run in 2012-13.
Looking (far) ahead, Drake is already a frontrunner for his eighth title as the Top R&B/Hip-Hop Artist. His collaborative album with 21 Savage, Her Loss, was released Nov. 4 and debuted on the Nov. 19, 2022, chart date – the first week of the 2023 chart year.
Billboard’s year-end music recaps represent aggregated metrics for each artist, title, label and music contributor on the weekly charts dated Nov. 20, 2021 through Nov. 12, 2022. The rankings for Luminate-based recaps reflect equivalent album units, airplay, sales or streaming during the weeks that the titles appeared on a respective chart during the tracking year. Any activity registered before or after a title’s chart run isn’t considered in these rankings. That methodology details, and the November-November time period, account for some of the difference between these lists and the calendar-year recaps that are independently compiled by Luminate.
Harlow ‘First’ in Class: Jack Harlow’s “First Class” captures first place on the annual Hot R&B/Hip-Hop Songs recap and gives the 24-year-old Louisville-bred rapper his first year-end champ on the list. The single, which debuted in April and samples Fergie’s 2006 track “Glamorous,” featuring Ludacris, logged 10 weeks on top of the weekly Hot R&B/Hip-Hop Songs chart and spent its first 27 weeks on the list inside the top 10.
The song’s double-digit stay also punched Harlow’s ticket into a rare club. Between “Class” and “Industry Baby,” his collaboration with Lil Nas X that spent 18 weeks on top of the list, Harlow became one of only a handful of artists with two songs that have claimed 10 or more weeks at No. 1 on Hot R&B/Hip-Hop Songs. “Industry Baby,” released in 2021, comes in at No. 6 on the 2022 year-end recap. Harlow and Drake are the only acts with multiple songs in the top 10 of this year’s annual Hot R&B/Hip-Hop Songs ranking.
Latto’s ‘Big’ Prizes: Elsewhere, Latto cashes in big on several year-end lists, including as the Top New R&B/Hip-Hop Artist. The 23-year-old rapper’s win ends a nine-year gap for a woman to lead the yearly recap, since Iggy Azalea took home top new honors in 2014. The breakout success stems from Latto’s “Big Energy” single, released in September 2021, found its stride in 2022, first by entering the Hot R&B/Hip-Hop Songs’ top 10 in January, topping the chart for two weeks in April and remaining on the list through September, a full year since its release.
Radio support played a pivotal role in the “Big Energy” story, most notably at the rhythmic format. The single clocked 35 weeks in the top 10 of the Rhythmic Airplay chart, the second-most by any song in the chart’s 30-year existence. No surprise then, that “Energy” is the No. 1 title on Rhythmic Airplay Songs for 2022. In addition, it nabs other awards as the year’s top R&B/Hip-Hop Digital Song Sales track and Rap Digital Song Sales, while Latto herself is the Top Female Rap Artist.
“Essence” Is Radio Champ: The Afrobeats genre brings home a big prize on the year-end charts thanks to Wizkid’s “Essence,” featuring Tems, which is No. 1 on R&B/Hip-Hop Airplay Songs. Following its July release and growing buzz on TikTok, the Nigerian acts’ collaboration found quick reception on U.S. airwaves after its radio campaign began, flying to the top of the weekly R&B/Hip-Hop Airplay chart just eight weeks after its debut. The journey at the top, though, was longer – historically long, in fact. “Essence” clocked 27 weeks at No. 1 on the chart, a tie for the second-longest in the chart’s history, and became the first song to remain in the top 10 for an entire year.
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As noted, “Essence” wins the R&B/Hip-Hop Airplay race and “Big Energy” takes the title for R&B/Hip-Hop Digital Song Sales. The genre’s streaming champ? Kodak Black’s “Super Gremlin.” It managed 13-week conquest of the R&B/Hip-Hop Streaming Songs chart, the longest since Roddy Ricch’s “The Box” ran up 14 frames in 2020.
Future takes the crowns for No. 1 Hot R&B/Hip-Hop Songs Artist, No. 1 Hot Rap Songs Artist and No. 1 Rap Streaming Songs Artist. One of the rapper’s best – if not the best – years of his career includes silver medals on the year-end charts for Top Rap Albums (I Never Liked You) and Hot R&B/Hip-Hop Songs (“Wait for U,” featuring Drake and Tems).
A year after being No. 1 on Hot Rap Songwriters, Lil Baby successfully defends his title. This year, though, he ups his collection to also take the prize at No. 1 on Hot R&B/Hip-Hop Songwriters, after coming in second place in last year’s standings.
When Bad Bunny appeared at No. 24 on 2021’s year-end Streaming Songs Artists chart, he found himself in a fairly elite group of acts who primarily record within Latin genres and in the Spanish language to make the annual list. What was more: he did so by virtue of multiple entries on the weekly Streaming Songs ranking. His predecessors, Luis Fonsi (No. 19, 2017) and Daddy Yankee (No. 25, 2017), made that year’s rundown solely on the strength of the Justin Bieber-featuring global phenomenon “Despacito,” also that year’s top-streamed song. Conversely, Bad Bunny’s 2021 included a slew of entries, including a pair of No. 2-peaking songs on the weekly survey (“Dakiti,” alongside Jhay Cortez, in November 2020 and “Yonaguni” in June 2021).
But the artist born Benito Antonio Martinez Ocasio leveled up in 2022 with May’s Un Verano Sin Ti. The streaming juggernaut of an album – by way of the streaming popularity of its songs –lands him at No. 1 on 2022’s Streaming Songs Artists chart.
In doing so, Bad Bunny becomes the first artist who records primarily in a language other than English to rule the year-end ranking, besting the likes of Taylor Swift, Harry Styles, Morgan Wallen and Drake at Nos. 2-5, respectively. (The annual year-end Streaming Songs Artist recap began in 2013.)
Explore All of Billboard’s 2022 Year-End Charts
2022 saw Bad Bunny land his first weekly Streaming Songs No. 1, the two-week ruler “Me Porto Bonito” with Chencho Corleone. Exemplifying the long-tail virality of Un Verano, the song didn’t even hit No. 1 until its 10th week on the ranking and was still in the top five well into October.
Billboard’s year-end music recaps represent aggregated metrics for each artist, title, label and music contributor on the weekly charts dated Nov. 20, 2021 through Nov. 12, 2022. The rankings for Luminate-based recaps reflect equivalent album units, airplay, sales or streaming during the weeks that the titles appeared on a respective chart during the tracking year. Any activity registered before or after a title’s chart run isn’t considered in these rankings. That methodology details, and the November-November time period, account for some of the difference between these lists and the calendar-year recaps that are independently compiled by Luminate.
Six songs from the album debuted within the top 10 upon release week (May 21, 2022), too, with “Titi Me Pregunto” (No. 4) remaining in the top five or 10 through October, too.
In 2021, two Bad Bunny songs – “Dakiti” (No. 13) and “Yonaguni” (No. 62) – appeared on the year-end Streaming Songs ranking. 2022 finds him with eight, including his first top 10s: “Bonito” (No. 5) and “Pregunto” (No. 6).
The year, however, wasn’t all about Bad Bunny on streaming services – no matter what it may have felt like at times. After falling off Streaming Songs Artists entirely in 2021, Taylor Swift roars back with a vengeance at No. 2, her first time in the top 10 since she was No. 4 in 2015 and her highest year-end rank since it began being tabulated.
Chalk that one up to two different albums in the tracking period – one with fully new material, the other rerecorded. Her Red (Taylor’s Version), released in November 2021, boasted a weekly No. 1 in “All Too Well (Taylor’s Version)” and a collection of top 10s, while the release of November 2022’s Midnights marked the second time ever that an act occupied the entire top 10 of Streaming Songs in a single week, paced by “Anti-Hero.”
The sheer volume of Swift material to make the chart throughout 2022 is so staggering, in fact, that on the year-end song ranking, she appears just once – at No. 66 – with “All Too Well.”
An artist like Glass Animals took a separate approach. “Heat Waves” ranks as the No. 1 entry on the year-end Streaming Songs tally, while the band appears at No. 10 on the artists ranking, all by virtue of just one charting song on the weekly survey.
Originally released in 2020, “Heat Waves” first made the weekly Streaming Songs in April 2021 and had broken into the top 10 by the end of the 2021 chart year. The song never actually rose higher than No. 3, but it spent the entirety of the weeks Jan. 29-May 7, 2022 anywhere between Nos. 3 and 8, and largely in the top 20 after that. Basically, the song – which now holds the record for the most weeks spent on the Billboard Hot 100 in its history (91) – refused to go away, and even when it felt like it wasn’t everywhere anymore, it was still in the periphery.
“Heat Waves” becomes the second song in a row to reign over the year-end Streaming Songs chart despite having not been released in that chart year, following Dua Lipa’s “Levitating,” which ruled in 2021 after premiering in March 2020. The similarities don’t stop there, either – guess where “Levitating” peaked on the weekly Streaming Songs? That’s right, No. 3. Steady wins the game.
Harry Styles appears at No. 3 on the year-end Streaming Songs Artists survey after never ranking higher than No. 15 (2020). His 2022 finish was buoyed by two-week No. 1 “As It Was,” the year’s overall No. 2 (and, due to “Heat Waves,” the highest-ranking song actually released in 2022).
He’s followed by Morgan Wallen, who backs up being No. 11 in 2021 by rising to No. 4 on the Streaming Songs Artists roundup. All that despite not releasing an album in the tracking year; many of the country star’s streams came from 2021’s Dangerous: The Double Album, plus a trio of newly released singles and a featured role on Lil Durk’s “Broadway Girls.”
Wallen is the first act releasing music primarily in the country genre to appear in the ranking’s year-end top 10, let alone top five. And he paces a slew of artists from the genre who make the 25-position list; he’s followed by newcomer Bailey Zimmerman (No. 16), veteran Chris Stapleton (No. 22) and newer-guard acts Walker Hayes, Zach Bryan and Luke Combs at Nos. 23-25, respectively. Last year? It was just Wallen and Combs.
2022 also marks the return of Disney film franchises to the year-end chart, particularly its top 10. Encanto’s “We Don’t Talk About Bruno,” a 13-week No. 1 at the start of the year, ends up at No. 7 on the Streaming Songs tally, following in the footsteps of Idina Menzel’s “Let It Go” from 2013’s Frozen, the No. 5 on the year-end 2014 list.