State Champ Radio Chart Beat
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Miley Cyrus’ “Flowers” leads the Billboard Hot 100 for a sixth week, encompassing its full run on the chart so far, dating to its debut at No. 1.
The song has doubled the three-week command of Cyrus’ prior Hot 100 leader, “Wrecking Ball,” in 2013.
Meanwhile, PinkPantheress and Ice Spice’s “Boy’s a Liar, Pt. 2” pushes from No. 4 to No. 3 on the Hot 100 and is the newly minted most-streamed song in the United States, hitting No. 1 on the Streaming Songs chart.
The Hot 100 blends all-genre U.S. streaming (official audio and official video), radio airplay and sales data. All charts (dated March 4, 2023) will update on Billboard.com tomorrow (Feb. 28). For all chart news, you can follow @billboard and @billboardcharts on both Twitter and Instagram.
“Flowers,” released on Smiley Miley/Columbia Records, drew 95.2 million radio airplay audience impressions (up 11%, good for the Hot 100’s top Airplay Gainer award for a fourth consecutive week – the longest such streak since Lizzo’s “About Damn Time” linked four wins in a row last June-July); logged 28.7 million streams (down 15%); and sold 18,000 (down 16%) Feb. 17-23, according to Luminate.
“Flowers” claims a fifth week at No. 1 on the Digital Song Sales chart and a second frame atop Radio Songs and slips 2-4 after four weeks atop Streaming Songs.
Plus, as “Flowers” adds a second week at No. 1 on the Pop Airplay chart, having become Cyrus’ third leader on the mainstream top 40-based radio ranking, it becomes her first No. 1 on the adult top 40-based Adult Pop Airplay chart.
SZA’s “Kill Bill” places at its No. 2 Hot 100 best for a seventh week. It leads Hot R&B/Hip-Hop Songs and Hot R&B Songs, which use the same methodology as the Hot 100, for an 11th week each. Meanwhile, parent album SOS crowns the Billboard 200 albums chart for a 10th week – the longest domination for an R&B album since the Whitney Houston-led soundtrack to The Bodyguard ruled for 20 weeks in 1992-93. (R&B albums are defined as those that have hit or are eligible for Billboard’s Top R&B Albums chart.)
Plus, “Kill Bill” tops its first airplay chart, rising to No. 1 on Rhythmic Airplay, scoring SZA her first leader on the rhythmic radio-based survey. It advances 6-4 on Radio Songs (71.5 million, up 11%), marking SZA’s third top five hit and first in a lead role.
PinkPantheress and Ice Spice’s “Boy’s a Liar, Pt. 2” climbs 4-3 on the Hot 100, a week after it became each act’s first top 10. The team-up, released Feb. 3, drew 33.7 million streams (up 8%) and rises from No. 3 to No. 1 to become the singer-songwriter and rapper’s first leader each on Streaming Songs. It marks the first No. 1 on the chart by multiple acts each achieving their first leader with an initial entry since Disney’s Encanto smash “We Don’t Talk About Bruno,” by Carolina Gaitán, Mauro Castillo, Adassa, Rhenzy Feliz, Diane Guerrero, Stephanie Beatriz and the Encanto Cast, reigned for 13 weeks in January-April 2022.
“Boy’s a Liar, Pt. 2” also drew 6.4 million in airplay audience (up 205%) – as it debuts at No. 32 on Rhythmic Airplay and jumps 39-33 on Pop Airplay – and sold 1,300 (up 36%) Feb. 17-23.
The track is a remix of PinkPantheress’ original solo “Boy’s a Liar,” released in November. (All versions of the song are combined into one listing on Billboard’s charts.)
Metro Boomin, The Weeknd and 21 Savage’s “Creepin’ ” recedes to No. 4 from its No. 3 Hot 100 high and Morgan Wallen’s “Last Night” holds at No. 5, after reaching No. 3, as it tops the multi-metric Hot Country Songs chart for a third week. (The latter is now being promoted as a pop radio single and debuts on Pop Airplay at No. 40.)
The Weeknd’s “Die for You” returns to its No. 6 Hot 100 best, from No. 7. It’s expected to gain on next week’s charts following the Friday (Feb. 24) release of its buzzworthy remix with Ariana Grande.
Elsewhere in the Hot 100’s top 10, Sam Smith and Kim Petras’ “Unholy” backtracks 6-7, after it led for a week in October; Taylor Swift’s “Anti-Hero” holds at No. 8, following a personal-best eight weeks at No. 1 in November-December; Beyoncé’s “Cuff It” keeps at No. 9, after hitting No. 6; and David Guetta and Bebe Rexha’s “I’m Good (Blue)” repeats at No. 10, after reaching No. 4, as it leads the multi-metric Hot Dance/Electronic Songs chart for a 23rd week.
Again, for all chart news, you can follow @billboard and @billboardcharts on both Twitter and Instagram and all charts (dated March 4), including the Hot 100 in its entirety, will refresh on Billboard.com tomorrow (Feb. 28).
Luminate, the independent data provider to the Billboard charts, completes a thorough review of all data submissions used in compiling the weekly chart rankings. Luminate reviews and authenticates data. In partnership with Billboard, data deemed suspicious or unverifiable is removed, using established criteria, before final chart calculations are made and published.
Bizarrap and Shakira’s collaboration “Bzrp Music Sessions, Vol. 53” debuted at No. 9 on the Billboard Hot 100 chart dated Jan. 28.
The track, recorded almost entirely in Spanish, earns Bizarrap his first top 10 hit on the Hot 100 and Shakira her fifth, and first since her Beyoncé team-up “Beautiful Liar” in 2007. It also earns the distinction as just the 30th non-English-language song to reach the Hot 100’s top 10 – out of over 5,000 top 10s in the chart’s 64-year history.
Shakira also makes history as the first solo woman to score a Hot 100 top 10 recorded in Spanish. (The group Mocedades’ “Eres Tu [Touch the Wind]” became the first such top 10 with lead female vocals in 1974; see below.)
“Bzrp Music Sessions, Vol. 53” drew 20.2 million U.S. streams, 7.9 million radio airplay audience impressions and 9,000 downloads sold its first full tracking week (Jan. 13-19), according to Luminate. Shakira’s previous four top 10s are sung primarily in English: “Whenever, Wherever” (No. 6 peak in 2001), “Underneath Your Clothes” (No. 9, 2002), “Hips Don’t Lie,” featuring Wyclef Jean (No. 1 for two weeks, 2006), and “Beautiful Liar,” with Beyoncé (No. 3, 2007).
Looking at the other 29 non-English-language top 10s, Bad Bunny tallies the most, with seven (four of which are from his 2022 smash album Un Verano Sin Ti), followed by BTS (five) and PSY (two).
Nine of the 30 songs have reached No. 1 on the Hot 100, including Luis Fonsi and Daddy Yankee’s “Despacito” (featuring Justin Bieber), which spent a then-record-tying 16 weeks at No. 1 in 2017, and Los Del Rio’s “Macarena (Bayside Boys Mix),” which ruled for 14 weeks in 1996. The most recent No. 1 is Coldplay and BTS’ “My Universe,” which contains both Korean and English lyrics, from 2021.
Spanish is the most common non-English language listed below (15 of 30 top 10s), followed by Korean (seven), German (three), French and Italian (two each) and Japanese (one).
Meanwhile, 18 of the 30 top 10s have reached the tier since 2012, following a 16-year break between “Macarena” and PSY’s “Gangnam Style.” The influx coincides with music’s increased globalization, as highlighted by hits from Bad Bunny and BTS, among others.
In chronological order of their peak dates, here are all 30 primarily or all non-English-language songs to reach the Hot 100’s top 10 (with thanks to Paul Haney at Joel Whitburn’s Record Research for research assistance). (The list does not include songs with relatively minimal portions in other languages, such as Enrique Iglesias’ “Bailamos” or Cardi B, Bad Bunny and J Balvin’s “I Like It.”)
Domenico Modugno, “Nel Blu Dipinto Di Blu (Volare)”
Peak date: Aug. 18, 1958Peak position: No. 1 (five weeks)Language: Italian
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Lolita, “Sailor (Your Home Is the Sea)”
Peak date: Dec. 19, 1960Peak position: No. 5Language: German
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Emilio Pericoli, “Al Di La'”
Peak date: July 7, 1962Peak position: No. 6Language: Italian
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Kyu Sakamoto, “Sukiyaki”
Peak date: June 15, 1963Peak position: No. 1 (three weeks)Language: Japanese
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The Singing Nun (Soeur Sourire), “Dominique”
Peak date: Dec. 7, 1963Peak position: No. 1 (four weeks)Language: French
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The Sandpipers, “Guantanamera”
Peak date: Sept. 17, 1966Peak position: No. 9Language: Spanish
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Mocedades, “Eres Tu (Touch the Wind)”
Peak date: March 23, 1974Peak position: No. 9Language: Spanish
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Nena, “99 Luftballons”
Image Credit: Courtesy Photo
Peak date: March 3, 1984Peak position: No. 2Language: German
Falco, “Rock Me Amadeus”
Image Credit: Courtesy Photo
Peak date: March 29, 1986Peak position: No. 1 (three weeks)Language: German
Los Lobos, “La Bamba”
Peak date: Aug. 29, 1987Peak position: No. 1 (three weeks)Language: Spanish
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Enigma, “Sadeness (Part 1)”
Image Credit: Courtesy Photo
Peak date: April 6, 1991Peak position: No. 5Language: Latin/French
Los Del Rio, “Macarena (Bayside Boys Mix)”
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Peak date: Aug. 3, 1996Peak position: No. 1 (14 weeks)Language: Spanish
PSY, “Gangnam Style”
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Peak date: Oct. 6, 2012Peak position: No. 2Language: Korean
PSY, “Gentleman”
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Peak date: May 4, 2013Peak position: No. 5Language: Korean
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Luis Fonsi & Daddy Yankee feat. Justin Bieber, “Despacito”
Peak date: May 27, 2017Peak position: No. 1 (16 weeks)Language: Spanish
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J Balvin & Willy William feat. Beyoncé, “Mi Gente”
Image Credit: Courtesy Photo
Peak date: Oct. 21, 2017Peak position: No. 3Language: Spanish
BTS, “Fake Love”
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Peak date: June 2, 2018Peak position: No. 10Language: Korean
Bad Bunny feat. Drake, “MIA”
Image Credit: Courtesy Photo
Peak date: Oct. 27, 2018Peak position: No. 5Language: Spanish
BTS feat. Halsey, “Boy With Luv”
Image Credit: Courtesy Photo
Peak date: April 27, 2019Peak position: No. 8Language: Korean
BTS, “On”
Image Credit: Courtesy Photo
Peak date: March 7, 2020Peak position: No. 4Language: Korean
BTS, “Life Goes On”
Image Credit: Courtesy Photo
Peak date: Dec. 5, 2020Peak position: No. 1 (one week)Language: Korean
Bad Bunny & Jhay Cortez, “Dakiti”
Peak date: Dec. 12, 2020Peak position: No. 5Language: Spanish
Jose Feliciano, “Feliz Navidad”
Peak date: Jan. 2, 2021Peak position: No. 6Language: Spanish
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Bad Bunny, “Yonaguni”
Image Credit: Courtesy Photo
Peak date: June 19, 2021Peak position: No. 10Language: Spanish
Coldplay x BTS, “My Universe”
Image Credit: Courtesy Photo
Peak date: Oct. 9, 2021Peak position: No. 1 (one week)Language: Korean
Bad Bunny, “Moscow Mule”
Image Credit: Courtesy Photo
Peak date: May 21, 2022Peak position: No. 4Language: Spanish
Bad Bunny, “Tití Me Preguntó”
Image Credit: Courtesy Photo
Peak date: May 21, 2022Peak position: No. 5Language: Spanish
Bad Bunny, “Despues de La Playa”
Peak date: May 21, 2022Peak position: No. 6Language: Spanish
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Bad Bunny & Chencho Corleone, “Me Porto Bonito”
Image Credit: Courtesy Photo
Peak date: July 23, 2022Peak position: No. 6Language: Spanish
Bizarrap & Shakira, “Bzrp Music Sessions, Vol. 53”
Image Credit: Courtesy Photo
Peak date: Jan. 28, 2023Peak position: No. 9Language: Spanish
The Weeknd is on the verge of an unlikely U.K. top 5 appearance with “Die For You” (via Republic Records/XO) – seven years after its release.
Based on sales and streaming data captured from the first 48 hours in the chart week, “Die For You” is set to spike 37-4, thanks to the release last week of a remix with Ariana Grande.
The original cut appears on the Canadian R&B star’s Billboard 200-topping album Starboy from 2016 (Starboy peaked at No. 5 on the U.K. tally).
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Pink is currently riding high on the Official U.K. Albums Chart with Trustfall (RCA), her fourth No. 1. The Fred Again-produced title track is ready for a rise to No. 11, for what would be the U.S. pop star’s highest-charting track since 2018’s A Million Dreams, which also peaked at No. 11.
Brit Award-winning English singer and songwriter George Ezra is on track for a return to the top 10 with “Green Green Grass” (Columbia), which is benefiting from a viral, sped-up mix. The tune, which originally peaked at No. 3 in July 2022, bounces to No. 10 on the First Look chart.
Another viral tune is strolling up the singles survey. Mae Stephens’ “If We Ever Broke Up” (EMI), which last week became the English singer-songwriter’s first top 40 hit (up 45-23), is chasing its first appearance in the top 20. It’s at No. 20 on the First Look tally.
At the top end of the chart blast, Miley Cyrus appears likely to snag a seventh consecutive week at No. 1 with “Flowers,” while PinkPantheress’ “Boy’s a Liar” looks set to hold at No. 2.
According to the Official Charts Company, some 3,000 chart units separate the top two tracks in the early phases of the chart week.
All will be revealed when the Official U.K. Singles Chart is published late Friday.
Miley Cyrus hits the U.K. singles chart for six with “Flowers” (via Columbia), which continues to lead the market in streams.
Cyrus’ catchy number is already 2023’s longest-reigning single in the U.K., and it soaks-up another 7.4 million streams across the latest cycle to enter a sixth consecutive week at No. 1.
PinkPantheress mounts a spirited challenge with “Boy’s a liar” (Warner Records), but the English singer, songwriter and producer’s viral single can’t catch “Flowers’.
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Thanks to a remix featuring rising U.S. rapper Ice Spice, “Boy’s a liar” lifts 3-2 on the latest chart, published Friday Feb. 24. That’s a new career-best chart position for the BBC Sound of competition winner.
A handful of songs climb to new peaks inside the top 10, including Rema’s “Calm Down” (Mavin), up 8-5; Coi Leray’s “Players” (Uptown/Republic Records) up 12-7; Tiësto and Tate McRae’s “10:35” (Atlantic/Ministry of Sound) up 11-8; and Lizzy McAlpine’s “Ceilings” (Harbour Artists & Music) up 21-9.
As her ninth and latest studio album Trustfall (via RCA) blasts to No. 1 on the Official U.K. Albums Chart, Pink sees two of its tracks climb the singles survey. The Fred Again-produced title track improves 35-14 while “Never Gonna Not Dance Again” gains 40-19.
Former One Direction star Niall Horan nails the week’s highest new entry with “Heaven” (Capitol). It’s new at No. 18 for the Irishman’s eighth solo top 40 single. “Heaven” is the first single lifted from his forthcoming third studio album, The Show.
English singer and songwriter Mae Stephens has her first top 40 appearance on the Official U.K. singles chart with “If We Ever Broke Up” (EMI). After tearing up TikTok, the track makes the transition to the mainstream chart, lifting 45-23.
Finally, London-based, Philippines-born indie-pop artist Beabadoobee claims her first top 40 track as a lead artist, and second overall, with viral wonder “Glue Song” (Dirty Hit). It’s new at No. 38.
SZA’s SOS enters even more rarer air, as the set collects its 10th nonconsecutive week at No. 1 on the Billboard 200 albums chart (dated March 4). Since 2010, only eight albums have notched at least 10 weeks atop the list, including SOS. The last to do so was Bad Bunny’s Un Verano Sin Ti, with 13 nonconsecutive weeks in 2022. The last album by a woman with 10 weeks at No. 1 was Adele’s 25, with 10 nonconsecutively in 2015-16.
In the latest chart’s tracking week, ending Feb. 23, SOS earned 87,000 equivalent album units in the U.S. (down 7%), according to Luminate.
Also in the top 10 of the new Billboard 200, P!nk claims her ninth top 10-charting effort, as her latest studio album, Trustfall, lands at No. 2.
The Billboard 200 chart ranks the most popular albums of the week in the U.S. based on multi-metric consumption as measured in equivalent album units, compiled by Luminate. Units comprise album sales, track equivalent albums (TEA) and streaming equivalent albums (SEA). 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 new March 4, 2023-dated chart will be posted in full on Billboard‘s website on Tuesday (Feb. 28). For all chart news, follow @billboard and @billboardcharts on both Twitter and Instagram.
Of SOS’ 87,000 equivalent album units earned in the week ending Feb. 23, SEA units comprise 86,000 (down 7%, equaling 118.39 million on-demand official streams of the set’s tracks), album sales comprise 500 (down 21%) and TEA units comprise 500 (down 8%).
The last R&B/hip-hop album with at least 10 weeks atop the list was Drake’s Views, which 13 nonconsecutive weeks at No. 1 (May 21-Oct. 8, 2016). SOS has the most weeks at No. 1 for an R&B/hip-hop album by a woman, or an R&B album by a woman, since Mariah Carey’s self-titled debut spent 11 weeks, all consecutively, at No. 1 in 1991. (Honorable mention to the Whitney Houston-led soundtrack to The Bodyguard, which logged 20 nonconsecutive weeks at No. 1 in 1992-93. The 12-track album has six songs by Houston and six songs by other artists.) SOS has the most weeks at No. 1 for any R&B album since The Bodyguard’s 20-week reign. (R&B/hip-hop and R&B albums are defined as those that have hit or are eligible for Billboard’s Top R&B/Hip-Hop Albums and Top R&B Albums charts, respectively.)
P!nk’s Trustfall debuts at No. 2 on the Billboard 200, giving the star her ninth top 10-charting album. The new effort, her first studio release since the chart-topping Hurts 2B Human in 2019, bows with 74,500 equivalent album units earned. Of that sum, album sales comprise 59,000, SEA units comprise 12,500 (equaling 16.61 million official on-demand streams of the set’s songs) and TEA units comprise 3,000.
Trustfall was preceded by the single “Never Gonna Not Dance Again,” which marked P!nk’s 30th hit on the Pop Airplay chart, 19th top 10 on the Adult Pop Airplay list and 35th entry on the Billboard Hot 100.
Five former No. 1s are next on the Billboard 200: Taylor Swift’s Midnights (a non-mover at No. 3; 54,000 equivalent album units earned, down 11%), Metro Boomin’s Heroes & Villains (6-4; 47,000 units, up 7%), Morgan Wallen’s Dangerous: The Double Album (4-5; 44,000 units, down 1%), Bad Bunny’s Un Verano Sin Ti (5-6; 41,000 units, down 7%), and Drake and 21 Savage’s Her Loss (a non-mover at No. 7; 38,000 units, down 6%) round out the top seven.
Zach Bryan’s American Heartbreak climbs 11-8 with 28,000 equivalent album units earned (down 6%), while Rihanna’s chart-topping ANTI falls 8-9 with 27,000 units (down 24%) and Harry Styles’ former leader Harry’s House dips 9-10 with 27,000 units (down 19%).
Luminate, the independent data provider to the Billboard charts, completes a thorough review of all data submissions used in compiling the weekly chart rankings. Luminate reviews and authenticates data. In partnership with Billboard, data deemed suspicious or unverifiable is removed, using established criteria, before final chart calculations are made and published.
Sally Field did not have a long career as a Billboard Hot 100 chart hitmaker, but she had one. Her 1967 single “Felicidad” spent four weeks on the chart, peaking at No. 94 in December 1967.
An impossibly perky and wholesome ditty, “Felicidad” makes “Do-Re-Mi” from The Sound of Music sound like “In-a-Godda-Da-Vida.” The song charted less than two weeks after Field turned 21 and two months after the debut of her hit ABC sitcom The Flying Nun. (That flyweight series ran for three years, a testament to Field’s charm and likeability.) “Felicidad” appeared on Field’s album, The Flying Nun, which logged four weeks on the Billboard 200, peaking at No. 172.
Field, of course, has gone on to a far more enduring career as a film and TV actress. That career is being honored on Sunday (Feb. 26) as Field receives the life achievement award from the Screen Actors Guild. Actor Andrew Garfield is scheduled to present the award.
“Felicidad” entered the Hot 100 at No. 100 in the week ending Nov. 18, 1967. Other new entries that week included The Monkees’ “Daydream Believer” (which went on to top the chart for four weeks), Gary Puckett & the Union Gap’s breakthrough hit “Woman, Woman” (which peaked at No. 4) and Johnny Rivers’ “Summer Rain” (with its memorable nod to The Beatles’ Sgt. Pepper’s Lonely Hearts Club Band).
“Felicidad” entered the chart one week after the arrival of Stone Poneys’ “Different Drum,” which was the first Hot 100 hit for Linda Ronstadt. Field and Ronstadt took vastly different routes to the top, but they both got there. They were in the same class of Kennedy Center Honorees in December 2019.
Dominic Frontiere and Diane Hilderbrand co-wrote “Felicidad.” Jack Keller produced Field’s recording. Keller had composed the irresistible theme song “(Wait Till You See My) Gidget” (performed by Johnny Tillotson) for Field’s first TV series Gidget (1965). Keller co-wrote many Hot 100 hits, including a pair of No. 1 hits in 1960 for Connie Francis, “Everybody’s Somebody’s Fool” and “My Heart Has a Mind of Its Own.”
Field has won three Primetime Emmys (for starring roles in Sybil and Brothers & Sisters and a guest role on ER) and two Oscars (for lead roles in Norma Rae and Places in the Heart). She also received a Tony nomination for The Glass Menagerie (best actress in a play, 2017).
Field gave the best description of her career in 1985 when she won her second Oscar. This will forever be remembered as the “You like me! You really like me!” speech, though Field never uttered that exact line.
“This means so much more to me this time. I don’t know why. I think the first time I hardly felt it because it was all so new. I owe a lot to the cast … to my family … But I want to say thank you to you. I haven’t had an orthodox career and I’ve wanted more than anything to have your respect. The first time I didn’t feel it, but this time I feel it. And I can’t deny the fact that you like me. Right now, you like me!”
Parker McCollum banks his third consecutive career-opening top 10 on Billboard’s Country Airplay chart, as “Handle on You” rises from No. 11 to No. 9 on the survey dated March 4.
In the week ending Feb. 23, the track increased by 7% to 19.8 million in audience, according to Luminate.
McCollum wrote the song with Monty Criswell, and Jon Randall produced it. “Handle” is the lead single from McCollum’s album Never Enough, due May 12.
The 30-year-old McCollum, who hails from Conroe, Texas, follows his two Country Airplay No. 1s: “To Be Loved by You” led last March and his rookie entry “Pretty Heart” reigned in December 2020, each for one week.
On the streaming-, airplay- and sales-based Hot Country Songs chart (dated Feb. 25), “Handle” held at No. 16, after reaching No. 14. It drew 5 million official U.S. streams (up 3%) and sold 1,000 downloads Feb. 10-16.
Hold That ‘Thought’
Morgan Wallen’s “Thought You Should Know” rents the Country Airplay penthouse for a second week, up 4% to 34.4 million impressions.
The song, which became Wallen’s eighth Country Airplay leader on the Feb. 25-dated list, is his fourth to rule for multiple frames. “You Proof,” which dominated for 10 weeks starting in October, is the longest-reigning song in the history of the chart, which launched in January 1990.
Meanwhile, of the five songs that have ascended to No. 1 on Country Airplay so far in 2023, “Thought” marks the third multi-week leader, following Nate Smith’s “Whiskey on You” (two weeks, February) and Jordan Davis’ “What My World Spins Around” (two, January).
Meanwhile, Wallen’s “Last Night” debuts at No. 47 on Country Airplay (1.5 million, up 246%), as well as at No. 40 on Pop Airplay. That track, “Thought” and “You Proof” all preview his 36-song album One Night at a Time, due March 3. “Last Night,” which has topped Hot Country Songs for two weeks running, is now being promoted to pop radio, while “One Thing at a Time” is Wallen’s next country radio single, with promotion starting March 13.
Five Finger Death Punch adds to its record streak of No. 1s on Billboard’s Mainstream Rock Airplay, as “Welcome to the Circus” jumps from No. 2 to the summit on the March 4-dated survey.
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The song is the Ivan Moody-fronted band’s 10th No. 1 in a row, the longest run of leading consecutive entries in the history of Mainstream Rock Airplay, which began in 1981.
Each of the band’s entries has ruled the chart starting with “Sham Pain,” which led for a week in 2018.
In all, Five Finger Death Punch now boasts 14 Mainstream Rock Airplay No. 1s, giving the group sole possession of the third-most leaders in the chart’s history. Only Shinedown (18) and Three Days Grace (17) have more.
Most No. 1s, Mainstream Rock Airplay:18, Shinedown17, Three Days Grace14, Five Finger Death Punch13, Van Halen12, Godsmack11, Disturbed11, Foo Fighters11, Metallica10, Tom Petty (solo and with the Heartbreakers)10, Volbeat
Five Finger Death Punch first crowned Mainstream Rock Airplay with the two-week No. 1 “Coming Down” in 2012.
Concurrently, “Circus” leaps 13-10 on the all-rock-format, audience-based Rock & Alternative Airplay chart with 2.8 million audience impressions, up 11%, Feb. 17-23, according to Luminate. It’s the band’s sixth top 10 and first since “Afterlife,” which peaked at No. 8 last July.
“Circus” ranked at No. 14 on the latest multi-metric Hot Hard Rock Songs survey (dated Feb. 25). In addition to its radio airplay, it earned 714,000 official U.S. streams in the Feb. 10-16 tracking week.
Linkin Park debuts at No. 1 on Billboard’s Hot Hard Rock Songs chart, as its recently unearthed track “Lost” bows atop the Feb. 25-dated ranking.
In the Feb. 10-16 tracking week, “Lost” earned 10.3 million radio audience impressions and 9 million official U.S. streams and sold 12,000 downloads in the United States, according to Luminate.
It’s Linkin Park’s second No. 1 on Hot Hard Rock Songs, which began in 2020, following “In the End,” which reigned for two weeks in 2021 due to gains sparked by iTunes sale pricing.
“Lost” also begins at No. 2 on Hot Alternative Songs and at No. 4 on both Hot Rock & Alternative Songs and Hot Rock Songs.
On the all-genre Billboard Hot 100, “Lost” starts at No. 38, Linkin Park’s highest charting entry since “Burn It Down” reached No. 30 in 2012. It’s the band’s 11th top 40 Hot 100 hit, and fifth to debut in the region. The group hit a No. 2 best with “In the End” in 2002.
As previously reported, “Lost” became the first to debut at No. 1 on the Rock & Alternative Airplay chart in more than a decade on the strength of its radio audience.
The track also tops the Rock Digital Song Sales, Alternative Digital Song Sales and Hard Rock Digital Song Sales surveys, as well as Hard Rock Streaming Songs.
“Lost,” with vocals by Chester Bennington, who died in 2017, was originally recorded for the sessions for Meteora, Linkin Park’s second studio album, released in March 2003. It’s part of a 20th anniversary reissue of the album, due April 7.
Shinedown has the record for the most top 10s on Billboard’s Mainstream Rock Airplay chart all to itself, as “Dead Don’t Die” climbs into the top 10 of the ranking dated Feb. 25.
“Die,” which jumps from No. 13 to No. 9, is Shinedown’s 30th top 10, as the band becomes the first act to cross the threshold in the history of the list, which began in 1981.
Previously, the Brent Smith-fronted outfit was in a three-way tie with Five Finger Death Punch and Foo Fighters for the most top 10s, with 29 apiece.
Most Top 10s, Mainstream Rock Airplay:
30, Shinedown
29, Five Finger Death Punch
29, Foo Fighters
28, Tom Petty (solo and with the Heartbreakers)
27, Godsmack
26, Van Halen
25, Disturbed
25, Metallica
Each of Shinedown’s entries on Mainstream Rock Airplay has reached the top five, dating to its debut entry “Fly From the Inside,” which hit No. 5 in September 2003.
Shinedown is currently riding a streak of eight No. 1s in a row on the chart, a run that began with “How Did You Love” in 2017. The record is held by Five Finger Death Punch, which has notched 10 straight.
Shinedown also boasts the most No. 1s – 18 – of any act in the chart’s history.
Concurrently, “Die” pushes 22-18 on the all-rock-format, audience-based Rock & Alternative Airplay tally with 1.8 million audience impressions, up 18%, Feb. 10-16, according to Luminate.
The song is the third rock radio single from Planet Zero, Shinedown’s seventh studio album, following the title track and “Daylight.” The set debuted at No. 1 on the Top Rock & Alternative Albums chart dated July 16, 2022, and has earned 158,000 equivalent album units to date.
