Chart Beat
Page: 375
2022 was the year of Bad Bunny. The superstar rules Billboard’s year-end Top Artists chart for the first time and his blockbuster release Un Verano Sin Ti is the year-end No. 1 on the Billboard 200 Albums recap. It’s both the first time that an act that primarily records in Spanish is the year’s top artist, and a mostly non-English-language set is the biggest album of the year. (Billboard began compiling the year-end Top Artists category in 1981, and albums in 1956.)
Explore
Explore
See latest videos, charts and news
See latest videos, charts and news
The 28-year-old Puerto Rican (born Benito Antonio Martinez Ocasio) crowns the year-end Top Artists tally thanks largely to the extraordinary success of his second No. 1 on the Billboard 200, the all-Spanish-language Un Verano Sin Ti, and its slew of hits on the Billboard Hot 100 songs chart. Un Verano Sin Ti debuted at No. 1 on the Billboard 200 dated May 21 and spent 13 nonconsecutive weeks atop the chart – the most weeks at No. 1 since 2016. The set also never left the top two positions of the weekly list in its first 24 weeks – becoming the first album to spend its first six months in the top two.
Un Verano Sin Ti also marked just the second all-Spanish-language album to reach No. 1 on the weekly Billboard 200, following Bad Bunny’s own El Ultimo Tour del Mundo in 2020.
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 Top Artists and Top New Artists categories ranks the best-performing overall acts, and new acts, of the year based on activity on the Billboard 200 album and Billboard Hot 100 songs chart, as well as Billboard Boxscore (touring) data, for the 2022 tracking period.
Explore All of Billboard’s 2022 Year-End Charts
Bad Bunny also profited from the continued success of four of his other albums – YHLQMDLG, El Ultimo Tour del Mundo, X 100PRE and the boxed set Anniversary Trilogy – all of which charted on the Billboard 200 during the 2022 tracking year. In total, Bad Bunny places four albums on the year-end Billboard 200 Albums chart – Un Verano Sin Ti (No. 1), YHLQMDLG (No. 36), El Ultimo Tour del Mundo (No. 69) and X 100PRE (No. 165).
Un Verano Sin Ti saw 22 of its 23 songs debut on the Hot 100 concurrent with the album’s release (the one album track that didn’t debut had already hit the list in 2019). On the year-end Hot 100 Songs recap, Bad Bunny places seven titles, led by “Me Porto Bonito,” with Chencho Corleone, at No. 20. Fueled by the success of the 24 songs he placed on the Hot 100 during the chart year, Bunny is No. 1 on Hot 100 Artists recap for 2022.
Bad Bunny is additionally 2022’s top male artist for the first time, while Taylor Swift is the top female (No. 2 on the overall list), Glass Animals is the top duo/group (No. 18 overall) and Latto leads the 2022 Top New Artists chart (No. 34 overall).
It’s Bad Bunny’s first time as the year’s top male, while for Swift, it’s her sixth time as the lead female (she was also tops in 2020, 2018, 2015, 2013 and 2009). She notched a pair of new No. 1s on the Billboard 200 during the chart year — Red (Taylor’s Version) and Midnights — which finish at Nos. 5 and 4, respectively, on the year-end Billboard 200 Albums chart. It’s the first time one act has two of the top five year-end biggest albums since 1975, when John Denver was Nos. 3 and 4 with John Denver’s Greatest Hits and Back Home Again.
Glass Animals also triumph as the year’s top/duo group for the first time, largely powered by the act’s smash single “Heat Waves” – the British band’s first No. 1 on the weekly Hot 100. It also broke the record for the longest-charting Hot 100 hit (91 weeks) and wraps 2022 at No. 1 on the Hot 100 Songs year-end recap.
Glass Animals‘ “Heat Waves” reigns as the No. 1 hit on Billboard‘s 2022 year-end Hot 100 Songs chart, following its sizzling, record-breaking run on the weekly ranking, which blends streaming, radio airplay and sales data.
Explore
See latest videos, charts and news
See latest videos, charts and news
Meanwhile, Bad Bunny tops Billboard‘s 2022 year-end Hot 100 Artists recap. He charted all 22 newly released tracks on his album Un Verano Sin Ti on the Hot 100 in the album’s explosive first chart week in May, including four in the top 10.
Explore All of Billboard’s 2022 Year-End Charts
“Heat Waves” tops Billboard‘s 2022 year-end Hot 100 Songs chart after it completed the longest climb to the weekly Hot 100’s summit in the chart’s history: 59 weeks.
The first Hot 100 leader (and entry) for British quartet Glass Animals – Dave Bayley, Edmund Irwin-Singer, Drew MacFarlane and Joe Seaward – debuted on the Jan. 16, 2021-dated chart and spent five weeks at No. 1 this March-April. Released in June 2020, the track subsequently topped weekly alternative, pop and adult radio airplay tallies, and, helping spark its multi-format crossover, connected prominently on TikTok.
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 song is about nostalgia and the past, and remembering and missing people,” Bayley mused upon the single’s Hot 100 coronation. “I think through the last couple years, and still now, people have been missing their loved ones, and not everyone’s been able to just go visit their parents, or their best friend. It’s been quite difficult … that’s my hunch as to why people have gravitated towards this song.
“I almost feel like it gives us a little bit of breathing room,” Bayley added of the song’s success. “I think there’s often a lot of pressure to keep putting things out. But because this has kept going, it’s given us the confidence to just keep doing what we were doing.”
“Heat Waves,” released on Wolf Tone/Polydor/Republic Records, went on to spend a record 91 weeks on the Hot 100 overall.
“When I wrote this song, I was writing about missing someone I loved very dearly,” Bayley further shared when “Heat Waves” rewrote the Hot 100’s new longevity mark. “Never in my wildest dreams did I think that it would lead to so much love and connection across the globe.”
“Heat Waves” is the first year-end Hot 100 No. 1 by a group (of more than two members) since The Black Eyed Peas’ “Boom Boom Pow” in 2009. Plus, until this year, no British group had led the year-end list since The Police with “Every Breath You Take” in 1983. (Among duos, U.S.-based Macklemore & Ryan Lewis topped the 2013 tally with “Thrift Shop,” featuring Wanz; among non-solo British acts, in between Glass Animals and The Police, Wham! wrapped at No. 1 for 1985 with “Careless Whisper.”)
“Heat Waves” is also the No. 1 title on the 2022 year-end Streaming Songs chart.
Harry Styles’ “As It Was” places at No. 2 on the 2022 year-end Hot 100 Songs chart, after it ruled the weekly Hot 100 for 15 weeks, the fourth-longest command in the chart’s history. The single also tops the year-end Billboard Global 200, Billboard Global Excl. U.S. and Pop Airplay Songs charts.
The Kid LAROI and Justin Bieber’s “Stay” ranks at No. 3 on the 2022 year-end Hot 100 Songs chart and leads the year-end Radio Songs and Adult Pop Airplay Song tallies; Adele’s “Easy on Me” finishes at No. 4 on the year-end Hot 100 Songs survey and is the No. 1 title of the year on Adult Contemporary Songs; and Ed Sheeran’s “Shivers” places at No. 5 on the year-end Hot 100 Songs ranking.
Rounding out the top 10 of the year-end Hot 100 Songs chart: Jack Harlow’s “First Class” (No. 6); Latto’s “Big Energy” (No. 7); Bieber’s “Ghost” (No. 8); Kodak Black’s “Super Gremlin” (No. 9); and Elton John and Dua Lipa’s “Cold Heart (Pnau Remix)” (No. 10), also the top title on the year-end Digital Song Sales chart.
While Lipa landed the No. 1 spot on the 2021 year-end Hot 100 Songs chart with “Levitating,” John scores his highest yearly placement since “Candle in the Wind 1997″/”Something About the Way You Look Tonight” was No. 8 in 1998 (after finishing at No. 1 in 1997).
Bad Bunny crowns Billboard‘s 2022 year-end Hot 100 Artists chart. He sent all 22 newly-released tracks on his album Un Verano Sin Ti, released on Rimas Entertainment, onto the Hot 100 in the album’s first chart week in May, including four in the top 10. Among those four, “Me Porto Bonito,” with Chencho Corleone, finishes highest on the year-end Hot 100 Songs recap, at No. 20.
Bad Bunny also rules the year’s overall Top Artists chart, while Un Verano Sin Ti is 2022’s No. 1 title on the Billboard 200 Albums year-end retrospective.
Doja Cat places second on Billboard‘s 2022 year-end Hot 100 Artists chart, having notched three new top 10s on the weekly Hot 100 during the year, followed in the top 10 by Styles (No. 3); Sheeran (No. 4); Morgan Wallen (No. 5); Taylor Swift (No. 6); Bieber (No. 7); Drake (No. 8); Future (No. 9); and Lil Baby (No. 10).
Meanwhile, Republic Records tops Billboard‘s 2022 year-end Hot 100 Labels chart. The label defends its 2021 title, after it also led during the last decade in 2019, 2018, 2017, 2016, 2015 and 2014.
Bad Bunny’s Un Verano Sin Ti is 2022’s year-end No. 1 on the Billboard 200 Albums chart.
The blockbuster album was released on May 6, 2022 and debuted at No. 1 on the weekly Billboard 200 chart (dated May 21). It marked just the second all-Spanish-language album to reach No. 1 on the weekly Billboard 200, following Bad Bunny’s own El Ultimo Tour del Mundo in 2020.
Un Verano Sin Ti spent 13 nonconsecutive weeks atop the list in 2022 – the most weeks at No. 1 for any album since 2016, when Drake’s Views also notched 13 weeks in the lead. Un Verano Sin Ti was so popular, it never left the top two positions on the weekly Billboard 200 for its first 24 weeks on the chart – the first time any album had spent its first six months in the top two.
Explore
Explore
See latest videos, charts and news
See latest videos, charts and news
Explore All of Billboard’s 2022 Year-End Charts
Un Verano Sin Ti is also the first Latin album to finish as the year-end No. 1 Billboard 200 Album. (Latin titles are defined as those that have charted on Billboard’s Top Latin Albums chart.)
In addition, Un Verano Sin Ti also places at No. 1 on the year-end Independent Albums, Top Latin Albums and Latin Rhythm Albums charts.
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.
At No. 2 on the 2022 year-end Billboard 200 Albums ranking is Adele’s 30, which spent six weeks at No. 1 on the weekly Billboard 200 during the 2022 chart year. The third-biggest album on the year-end chart is 2021’s top album, Morgan Wallen’s Dangerous: The Double Album.
Taylor Swift doubles up in the 2022 year-end top five, as her most recent release, Midnights, is No. 4, while her 2021 release Red (Taylor’s Version), is No. 5. It’s the first time one act has two of the top five year-end biggest albums since 1975, when John Denver was Nos. 3 and 4 with John Denver’s Greatest Hits and Back Home Again.
Both Midnights and Red (Taylor’s Version) debuted at No. 1 on the weekly Billboard 200, with the former charting just two weeks on the list during the 2022 chart year. Midnights charts so high on the year-end ranking from only two weeks of charting activity thanks to its incredibly large first two weeks, in terms of overall equivalent album units earned.
Notably, in the last 15 years (2008-22), Swift has placed at least one album in the year-end Billboard 200 Albums recap in all but two years. She’s only missed a top 10 year-end roundup in that span of time in 2016 and 2017. (The absence in those years was owed mostly to her not releasing any new albums for three years between the bows of 1989 In October of 2014 and Reputation in November of 2017.) In 2016, her highest-ranking album was 1989, at No. 17, while in 2017, her top-performing set was also 1989, at No. 101.
The Encanto soundtrack is No. 6 on the 2022 Billboard 200 Albums recap, followed by Harry Styles’ Harry’s House, Olivia Rodrigo’s Sour, Drake’s Certified Lover Boy and The Weeknd’s The Highlights. Three albums in the 2022 year-end top 10 are repeats from 2021’s recap: Dangerous (No. 1 in 2021), Sour (No. 2 in 2021) and Certified Lover Boy (No. 5 in 2021).
Of 2022’s top 10 Billboard 200 Albums, the only title that didn’t reach No. 1 on the weekly chart is The Weeknd’s 18-track greatest hits set The Highlights, which has so-far peaked at No. 2. It’s the first hits compilation from a single artist to finish in the year-end top 10 since 2014, when Garth Brooks’ 77-track covers/retrospective boxed set Blame It All on My Roots: Five Decades of Influences was No. 9. The last conventional greatest hits album to rank among the year’s top 10 albums was another Brooks effort, the 34-track The Ultimate Hits, which closed 2008 as the No. 10 title of the year.
Burl Ives blasts back onto the Billboard Hot 100 chart (dated Dec. 3), as his holiday standard “A Holly Jolly Christmas” re-enters the ranking at No. 10.
The track’s revival can be attributed to annual gains for yuletide hits during the holiday season. The song debuted on the Hot 100 during the 2016 holiday season, 52 years after its release, and has re-entered every year since. The song first hit a No. 4 high over the 2019 holidays, and has returned to its peak in each of the last two years. This year is especially notable in that it brings the song’s highest re-entry, as it becomes the first holiday song ever to re-enter in the top 10.
How rare is it for songs to return to the Hot 100 all the way in the top 10? Pretty rare. In the chart’s 64-year history, “A Holly Jolly Christmas” is just the ninth song to re-enter directly in the top 10.
Generally, songs make steady runs up and down the Hot 100, though in more recent years it’s become more common for titles to debut at high ranks thanks to splashy streaming debuts and then decline, with many also regaining their footing on the chart as their radio airplay solidifies.
Hot 100 rules prevent most catalog titles from returning or debuting if below No. 50. Descending titles are removed from the Hot 100 after 20 weeks on the chart if below No. 50 or after 52 weeks if below No. 25. To re-enter after having graduated to recurrent status, a song must garner enough chart points, with a notable reason for its resurgence.
This is all to say that, for older titles, it’s generally difficult to re-enter the Hot 100 and compete with newer songs generating hefty radio airplay and streaming figures. It’s even tougher to suddenly re-enter in the top 10.
The select songs that have achieved the feat of re-entering the Hot 100 in the top 10 have, for the most part, gained newfound interest after artists were prominently in the news, performed on massive stages or scored a notable synch, as Kate Bush did earlier this year when “Running Up That Hill (A Deal With God)” was featured in Netflix’s Stranger Things.
Here’s a look at all nine songs that have re-entered the Hot 100 in the top 10, listed chronologically:
Additional reporting by Gary Trust
Artist Billing, Title, Chart Date (Hot 100 Re-entry Rank):
Late singer-songwriter Christine McVie, who died Nov. 30 at age 79, left a great impression on Billboard’s charts through the decades, thanks to her pure pop/rock sensibility that often lifted Fleetwood Mac, the Rock & Roll Hall of Fame band in which she was a longtime member, to incredible heights.
For most of Fleetwood Mac’s hitmaking career, McVie was one of its three primary singers and songwriters, alongside Lindsey Buckingham and Stevie Nicks. Notably, McVie wrote and sang lead vocals on three of the band’s top four biggest hits on the Billboard Hot 100 – including the group’s biggest song, “Hold Me.”
Billboard has exclusively compiled McVie’s top 10 biggest hits on the Hot 100 chart, based on actual performance on the weekly survey. Included were any charted songs by Fleetwood Mac that McVie wrote and on which she sang lead vocals, as well as her solo recordings outside the band.
McVie’s biggest Hot 100 hit is the 1982 Fleetwood Mac song “Hold Me,” which was released as the first single from the band’s Mirage album. It spent a staggering seven weeks at its peak of No. 4 on the weekly Hot 100 chart – a then-record for that peak rank. McVie sang lead vocals on “Hold Me,” and it was written by McVie and Robbie Patton. (Overall, “Hold Me” is Fleetwood Mac’s biggest Hot 100 hit, while the group’s No. 2 hit is its lone chart-topper on the weekly Hot 100 – 1977’s “Dreams,” penned by Nicks, who also sang its lead vocal.)
McVie’s second-biggest all-time Hot 100 hit is “Little Lies,” which was released in 1987 as the third single from Fleetwood Mac’s Tango in the Night album. McVie had lead vocal duties on the cut, and she co-wrote it with her then-husband Eddy Quintela.
Fleetwood Mac’s “Don’t Stop” – which was solely written by McVie, who shared lead vocals with Buckingham – is her third-biggest Hot 100 hit. The track became one of four top 10-charting singles from the mega-successful Rumours album. The set spent 31 weeks at No. 1 on the Billboard 200 – still a record for any album by a group.
Fleetwood Mac’s “Say You Love Me” and “You Make Loving Fun” (both singularly written by McVie, who sang lead) round out McVie’s top five biggest Hot 100 hits. The former was released in 1976 as the final single from the band’s self-titled album. It was also the first to feature the lineup of Buckingham, Mick Fleetwood, Nicks, Christine McVie and her first husband John McVie.
The Buckingham/Fleetwood/Nicks/McVie/McVie lineup would release five studio albums (from 1975’s self-titled set through 1987’s Tango In the Night) and two live albums (1980’s Live and 1997’s The Dance). All four of the act’s No. 1 albums were by that famed lineup, with the self-titled set, Rumours, Mirage and The Dance all topping the Billboard 200.
Christine McVie’s 10 Biggest Billboard Hits recap is based on actual performance on the weekly Billboard Hot 100 chart. Songs are ranked based on an inverse point system, with weeks at No. 1 earning the greatest value and weeks at No. 100 earning the least. To ensure equitable representation of the biggest hits from each era, certain time frames were weighted to account for the difference between turnover rates from those years.
It’s been another banner year on the Billboard Hot 100, with 14 different tracks reaching the top spot on the chart during 2022.
And with December on the horizon, Billboard‘s end-of-year charts are set to be unveiled on Thursday (Dec. 1), so before that happens, we want to know which song you think will turn out to be the top Hot 100 hit of the year.
January started with a holdover from the holiday season, as Mariah Carey‘s “All I Want for Christmas Is You” spent the first two weeks of the year at No. 1 before giving way to Adele‘s smash “Easy on Me.” However, the first new song to take the top spot was actually “We Don’t Talk About Bruno” from Disney’s Encanto, which dominated the entire month of February and the first week of March.
Then, Glass Animals‘ “Heat Waves” completed its historic, slow-burning climb to No. 1 after a record 59 weeks. (The psychedelic bop now holds the title as the longest charting song of all time on the tally.)
By the middle of April, Harry Styles kicked off his Hot 100 domination with “As It Was.” The lead single from Harry’s House eventually settled in to spend 15 nonconsecutive weeks in the top spot, alternating for the crown with the likes of Jack Harlow‘s “First Class,” Future‘s “Wait For U” featuring Drake and Tems, and “Jimmy Cooks” by Drake and 21 Savage.
Female artists finally got their well-deserved due over the summer when Lizzo, Beyoncé and Nicki Minaj each took turns at No. 1 with, respectively, “About Damn Time,” “Break My Soul” and “Super Freaky Girl” before Styles came roaring back to spend five more weeks at the top.
The song that eventually toppled the former One Direction-er’s hot streak was Steve Lacy‘s “Bad Habit,” followed by Sam Smith and Kim Petras‘ “Unholy.” And with the arrival of Midnights in late October, Taylor Swift has dominated the chart for the last five weeks, with “Anti-Hero” passing “Shake It Off” as the second longest running chart-topper of her career thus far.
Before Billboard‘s end-of-year charts are released Thursday, vote for the song you think will top all the others in our poll below.
Welcome to Billboard Pro’s Trending Up column, where we take a closer look at the songs, artists, curiosities and trends that have caught the music industry’s attention. Some have come out of nowhere, others have taken months to catch on, and all of them could become ubiquitous in the blink of a TikTok clip. This week: Netflix’s latest hit series Wednesday helps an early cult-punk classic get out of the “Muck,” The 1975’s live lip-locking revives one of their early singles and everyone is left craving more “Yamz” this Thanksgiving.
‘Wednesday’ Sends The Cramps’ Streams Running Up That Hill
Wednesday, the Addams Family revival focused on a teenage Wednesday Addams (played by Jenna Ortega) and her adventures at a boarding school, has been a smash success for Netflix since premiering last Wednesday (Nov. 23), setting the record for the most hours viewed in a week for an English-language series on the streaming service. Its 341.2 million hours viewed in its debut week surpasses the record set a few months back by the fourth season of Stranger Things — which, you may recall, resurrected Kate Bush’s “Running Up That Hill” with dramatic flair and turned the 1985 single into a top five Billboard Hot 100 smash in 2022.
Six months later, Wednesday is helping “Goo Goo Muck,” the spooky-fun 1981 version of the 1962 Ronnie Cook and the Gaylads single released on I.R.S. by influential rockabilly punks The Cramps, receive a similarly inspired comeback. “Goo Goo Muck” soundtracks a school dance in which Ortega demonstrates some quirky, spirited choreography, and Wednesday fans are seeking out The Cramps version after the fact. On the day before the Wednesday series premiered, “Goo Goo Muck” earned 2,500 daily U.S. on-demand streams, according to Luminate; by Monday (Nov. 28), that number was up to 134,000 daily streams. The Cramps have been defunct since the 2009 death of lead singer Lux Interior, but if Wednesday viewers keep streaming “Goo Goo Muck,” the band could belatedly earn its first career Hot 100 hit. – JASON LIPSHUTZ
The 1975 Make Out Like Bandits
U.K. alt-pop veterans The 1975 hit the Billboard 200’s top 10 for the fourth straight album this October with their latest set, Being Funny in a Foreign Language, and have a slow-burning streaming hit with that LP’s “About You,” which has grown 41% over the three weeks to over two million weekly U.S. on-demand streams for the period ending Nov. 24, according to Luminate. But the band’s most buzzed-about song the past week hasn’t come from that album, or any of the three before it – for that one, you’ve got to go back to from their 2013 self-titled debut set (on Dirty Hit/Polydor) and longtime fan favorite “Robbers,” which the group has turned into a lip-locking spectacle on their current stateside tour.
At consecutive stops over the past weekend in Las Vegas and San Diego, frontman Matty Healy pulled fans from the audience – one female, one male – onstage during their performance of “Robbers,” embracing them and then giving them a healthy smooch just before the song’s climax. The consecutive kisses both went viral on social media, getting fans dangerously in their feelings and causing them to swarm back to the enduring “Robbers.” Since Nov. 25 (the night of the Vegas concert), the song has spiked 116% in daily official on-demand U.S. streams, according to Luminate, growing from 65,000 that Thursday to 141,000 on Sunday, and no doubt inspiring a whole lot of breathless refreshing of social feeds for each remaining tour date. – ANDREW UNTERBERGER
A Second Helping of “Yamz” This Thanksgiving
It was 2015 all over again last week, as the hottest song of Thanksgiving belonged to Fetty Wap. The “Trap Queen” hitmaker scored a breakout success with the rap-crooned synth-funk of “Sweet Yamz” – a song not necessarily about the delicious side dish, but which nonetheless felt seasonally appropriate to countless listeners. The 300 Entertainment/RGF Productions single, released to streaming services on Nov. 18, earned plaudits from authorities as respected as Snoop Dogg and Charlie Wilson and exploded on streaming last week, earning over half a million official on-demand U.S. streams daily from Wednesday (Nov. 23) through Saturday (Nov. 26), according to Luminate.
However, as many R&B heads online were quick to point out, the song wasn’t totally an original: The hit was based off a 2021 collab between Masego and Devin Morrison on EQT Recordings/Capitol, with a near-identical chorus and groove, but different verses. Though some cried foul at the lift, there was more than enough consumption to go around this Thanksgiving season: The original “Yamz” also experienced a huge bump, rising from 172,000 streams total from Nov. 21-23 to 367,000 from Nov. 24-26, a 113% gain. – AU
Disturbed crowns Billboard’s Top Alternative Albums and Top Hard Rock Albums charts, as Divisive bows at No. 1 on the Dec. 3-dated rankings.
Divisive starts with 26,000 equivalent album units earned in the Nov. 18-24 tracking week, according to Luminate, with 22,000 units via album sales.
Disturbed now boasts six No. 1s on Top Hard Rock Albums and five on Top Alternative Albums, which each began in 2007. The David Draiman-fronted band first ruled with 2008’s Indestructible and had most recently led with 2018’s Evolution. Disturbed’s only album in that span to hit No. 1 on Top Hard Rock Albums but not Top Alternative Albums was its 2011 B-sides round-up The Lost Children, which peaked at No. 4 on the latter list.
Only two acts have more No. 1s on Top Hard Rock Albums than Disturbed: Five Finger Death Punch and Pearl Jam, with seven apiece.
Most No. 1s, Top Hard Rock Albums7, Five Finger Death Punch7, Pearl Jam6, Disturbed6, Foo Fighters6, Korn6, Linkin Park5, Breaking Benjamin5, Lamb of God5, Marilyn Manson5, Nickelback
Divisive also begins at No. 3 on both Top Rock & Alternative Albums and Top Rock Albums.
On the all-format Billboard 200, the album debuts at No. 13. The band counts five total No. 1s on the all-genre chart, beginning with Believe in 2002. The set also starts as the highest arrival on Top Album Sales, at No. 3, behind only Taylor Swift’s Midnights (57,000) and Michael Jackson’s reissued Thriller (27,000).
Concurrently, four songs from Divisive appear on Hot Hard Rock Songs, paced by lead single “Hey You” at No. 5. The song earned 2.7 million audience impressions on radio and 903,000 official U.S. streams from Nov. 18-24. It’s followed by “Bad Man,” new at No. 6 (1.6 million airplay impressions, 1.2 million streams and 1,000 sold).
“Hey You” ruled Mainstream Rock Airplay for three weeks in September, while “Bad Man” lifts 19-18 in its second week on the ranking.
Eladio Carrión secures his third top 10 on Billboard’s Top Latin Albums chart as Sen2 Kbrn, Vol. 2 debuts at No. 4 on the Dec. 3-dated list. The album is the follow-up to Sen2 Kbrn, Vol. 1 which debuted and peaked at No. 20 in July 2021.
Sen2 Kbrn, Vol. 2 was released Nov. 18 via Rimas Entertainment. The set debuts in the top five on Top Latin Albums and Latin Rhythm Albums with 10,000 equivalent album units earned in the U.S. after its first tracking week ending Thanksgiving Day, Nov. 24, according to Luminate. Vol. 2 also launches at No. 121 on the overall Billboard 200, the only one of the Sen2 Kbrn volumes to score an entry there.
On the multi-metric Top Latin Albums chart, each unit equals one album sale, or 10 individual tracks sold from an album, or 3,750 ad-supported or 1,250 paid/subscription on-demand official audio and video streams generated by songs from an album.
The majority of Vol. 2’s opening sum derives from streaming equivalent album units which equates to 15 million on-demand official streams for the album’s songs.
As mentioned, with the new entry, Carrión earns his third straight top 10, after another volume 2 album. Sauce Boyz 2 gave the Puerto Rican rapper his highest mark on the tally to date: a No. 2 debut and peak in December 2021. Previously, Carrión achieved his first entry and top 10 through the No. 8 high Sauce Boyz in 2020.
Meanwhile, Sen2 Kbrn, Vol. 2 gives Carrión his fourth straight top 10 on Latin Rhythm Albums, including the No. 8-peaking Monarca in January 2021.
As Vol. 2 arrives, two songs from the album debut on the Hot Latin Songs chart. “Mbappe,” the track dedicated to French soccer player Kylian Mbappé, leads the new recruits, debuting at No. 21, largely from its streaming activity, with 17.7 million official streams logged in the week ending Nov. 24. It also grants Carrión his highest charting title on the multi-metric tally.
Meanwhile, “Gladiador” follows at No. 39, likely from its streaming activity (1.5 million official streams). Hot Latin Songs blends airplay, streaming activity, and digital sales.