Chart Beat
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TikTok standout and Eurovision entry “Snap” becomes Rosa Linn‘s first No. 1 on a Billboard chart, ascending to the top of the Adult Alternative Airplay tally dated Oct. 22.
The song was initially released as the Armenian entry for the 2022 Eurovision Song Contest and subsequently went viral on TikTok.
“Snap” is one of a trio of songs in the Adult Alternative Airplay top 10 to score significant buzz on TikTok, alongside Steve Lacy‘s “Bad Habit” at No. 7 and Noah Kahan‘s “Stick Season” at No. 10.
Meanwhile, Linn is the first act to reign with a first charted song on Adult Alternative Airplay since Mitski, whose “The Only Heartbreaker” led in March.
“I grew up listening to good music,” Linn told SiriusXM’s Billboard Live on Oct. 18. “My mom loves jazz and my dad is a Beatles fan … Deep Purple, Led Zeppelin, everything. That kind of made me different than kids my age. Growing up with that music made me realize that I love what I listen to, and I want to be a part of it.”
Concurrently, “Snap” bullets at No. 29 on the all-rock-format, audience-based Rock & Alternative Airplay chart, after reaching No. 25 earlier in October, with 1.3 million audience impressions, up 3%, according to Luminate. The song also ranks at No. 35, after hitting No. 31, on Alternative Airplay.
On the multimetric, all-genre Billboard Hot 100, “Snap” jumps to a new No. 82 high. In addition to its radio airplay, the song earned 4.5 million official U.S. streams and sold 1,000 downloads in the tracking week ending Oct. 13. It also places at Nos. 24 and 25, respectively, on Pop Airplay and Adult Pop Airplay.
“Snap” continues to score worldwide support, ranking at Nos. 16 and 20 on the Billboard Global 200 and Billboard Global Excl. U.S. charts, respectively.
Quavo and Takeoff’s collaborative album, Built for Infinity Links, yields a No. 1 debut on Billboard’s Top Rap Albums chart as the project starts atop the list dated Oct. 22. Links earned 33,000 equivalent album units in the week ending Oct. 13, according to Luminate.
Streaming fuels the album’s entrance, with 30,500 of the 33,000 units deriving from the consumption method. The 30,500 streaming-equivalent album units equal 41.1 million official on-demand streams of Links’ songs in the tracking week. Two thousand of the remaining units come from traditional album sales, with the outstanding 500 balance owed to track-equivalent album units. (One unit equals the following levels of consumption: one album sale, 10 individual tracks sold from an album, or 3,750 ad-supported or 1,250 paid/subscription on-demand official audio and video streams for a song on the album.)
Elsewhere, Links debuts at No. 3 on Top R&B/Hip-Hop Albums chart and at No. 7 on the all-genre Billboard 200.
The new champ gives Quavo his second solo chart-topper, after Quavo Huncho ruled for one week upon its debut in October 2018. Takeoff, meanwhile, achieves his first leader, after a prior No. 2 best for his The Last Rocket in November 2018. The pair has also visited the summit as two-thirds of the trio Migos, whose Culture and Culture II led the list in 2017 and 2018, respectively. The group’s future is uncertain – Quavo and Takeoff have said Migos is on an indefinite hiatus, while the trio’s third member, Offset, has announced a solo album for release on Nov. 11.
As Links arrives, three of its tracks debut on the Hot R&B/Hip-Hop Songs chart: “To the Bone,” with YoungBoy Never Broke Again (No. 24), “Nothing Changed” (No. 44) and “Chocolate,” with Gunna (No. 48). “Bone” leads the album’s songs in streaming, with 5.8 million official U.S. streams in the week ending Oct. 13.
In addition, the previously released Links lead single, “Hotel Lobby (Unc & Phew),” rallies 37-19 from the album release’s impact. The track returns to its highest rank since the July 5-dated list (also at No. 19). The track’s 50% surge in streams to reach 5.6 million in the week and 356% swell in sales to 1,000 downloads secure it both the chart’s Streaming Gainer and Digital Gainer callouts.
Oliver Tree and Robin Schulz secure a top 10 debut on Billboard‘s multi-metric Hot Dance/Electronic Songs chart (dated Oct. 22) with “Miss You” at No. 10. It’s the first top 10 for Oliver Tree, who has notched 14 entries, including two top 10s, on the Hot Rock & Alternative Songs chart, and the third for Schulz, following “Prayer in C,” with Lillywood (five weeks at No. 1, 2015), and “Sugar,” featuring Francesco Yates (No. 2, 2016).
“Miss You” manages nearly the entirety of its chart points from streaming, as it earned 2 million official streams in the U.S. in the Oct. 7-13 tracking week, according to Luminate. Concurrently, the track begins on Dance/Electronic Streaming Songs (No. 25), the Billboard Global Excl. U.S. chart (No. 93) and the Billboard Global 200 (No. 125).
Elton John and Britney Spears gain on Hot Dance/Electronic Songs in the wake of the Oct. 7 release of Joel Corry’s remix of “Hold Me Closer,” as the collab claims top Streaming Gainer honors (6.3 million streams, up 7%). The song, which ranks at No. 2 for a third straight frame after debuting at No. 1 (Sept. 10), also drew 32 million radio airplay audience impressions, up 13%, and sold 3,000 downloads, up 15%.
Additionally on Hot Dance/Electronic Songs, Alok locks in his eighth appearance, Sigala scores his 17th and Ellie Goulding earns her 11th with “All by Myself” (No. 42). The team-up, which tallied 489,000 streams, contains multiple musical elements of Depeche Mode’s “Enjoy the Silence,” the band’s 1990 crossover smash from its Violator album that served as the British new wave act’s sole Billboard Hot 100 top 10 (No. 8), topped the Alternative Airplay chart for three weeks and reached No. 6 on Dance Club Songs.
On Dance/Mix Show Airplay, Doja Cat adds her fourth top 10 with “Vegas” (15-10), thanks to strong mix show support. (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.) Previously, she culled top 10 placements with “Say So” (12 weeks at No. 1, 2020), “Kiss Me More,” featuring SZA (No. 3, 2021), and “Get Into It (Yuh)” (No. 10, this July).
Plus, Eliza Rose and Interplanetary Criminal bow on Dance/Mix Show Airplay with “B.O.T.A. (Baddest of Them All)” (No. 36), the initial appearance for each act. The song is lining up core-dance airplay on SiriusXM’s Diplo’s Revolution, Music Choice’s Dance/EDM channel and SiriusXM’s BPM, among other outlets. On Hot Dance/Electronic Songs, “B.O.T.A.” holds at its No. 8 high, driven most prominently by 3.5 million streams.
Death Cab for Cutie tops Billboard‘s Alternative Airplay chart for the first time in a decade with “Here to Forever,” which rises to No. 1 on the tally dated Oct. 22.
The song is the Ben Gibbard-led band’s second Alternative Airplay leader, after “You Are a Tourist” notched a week on top in July 2011. The break between No. 1s marks the longest since Beck went 12 years, eight months and two weeks between the reigns of “E-Pro” in April 2005 and “Up All Night” in December 2017.
In between “Tourist” and “Forever,” Death Cab for Cutie reached Alternative Airplay six times, with three top 10s in that span, paced by the No. 2-peaking “Black Sun” in 2015.
“This kind of amazing news is something we never expect but are beyond happy to receive,” the band shared in a statement to Billboard. “A huge thank you to our stellar team at Atlantic Records for this accomplishment.”
Alternative Airplay is the second airplay chart that “Forever” has conquered in 2022. It ruled Adult Alternative Airplay for eight weeks beginning in August (and currently ranks at No. 3), having become the group’s seventh No. 1 on the survey.
On the all-rock-format, audience-based Rock & Alternative Airplay chart, “Forever” bullets at No. 3, after reaching No. 2, with 3.7 million audience impressions, up 2%, according to Luminate.
“Forever” is the lead single from Asphalt Meadows, Death Cab for Cutie’s 10th studio album. The set debuted at No. 4 on the Top Alternative Albums chart dated Oct. 1 and has earned 27,000 equivalent album units to date.
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Blink-182‘s “Edging” marks the highest debut on Billboard‘s Rock & Alternative Airplay chart in over eight years, as the band’s reunion single with Tom DeLonge starts at No. 2 on the Oct. 22-dated survey.
“Edging” earned 3.9 million audience impressions in the tracking week ending Oct. 16, according to Luminate, a sum achieved in just three days, as the song was released Oct. 14.
Just eight songs have debuted in the top two of Rock & Alternative Airplay in the chart’s 13-year history. The last was The Black Keys‘ “Fever,” which bowed at No. 2 on the tally dated April 12, 2014.
“Edging” already ties Blink-182’s top-ranking song on the list, “Bored to Death,” which peaked at No. 2 in 2016.
The new track’s strong start is sparked by its No. 12 debut on Alternative Airplay, the band’s best bow, topping “Death” and its No. 18 arrival. “Edging” logs the chart’s highest entrance since Twenty One Pilots‘ “Shy Away” started at No. 11 in April 2021.
“Edging” also begins at No. 33 on Mainstream Rock Airplay.
More chart action for “Edging” will be reflected on Oct. 29-dated rankings, reflecting the song’s first week of streams and sales and its first full week of airplay (Oct. 14-20).
“Edging” marks DeLonge’s return to Blink-182 as its guitarist and co-lead singer after departing in 2015. Alkaline Trio‘s Matt Skiba had filled in on the band’s last two albums, 2016’s California and 2019’s Nine.
Ben Fuller notches his first No. 1 on Billboard‘s Christian AC Airplay survey (dated Oct. 22) with “Who I Am.” In the tracking week ending Oct. 16, the song increased by 4% in plays, according to Luminate. The 35-year-old singer-songwriter co-wrote the track with Krystal Polychronis and David Spencer (the latter of whom co-produced it with Bryan Fowler). The song is set to be on Fuller’s forthcoming debut LP.
Fuller, who hails from southern Vermont, grew up working on his family’s dairy farm and has been public about overcoming his battles with cocaine and alcohol addiction.
“Three years ago this fall marks the time that I accepted Jesus into my heart, and this week I was told my first single, ‘Who I Am,’ has reached No. 1 on Billboard,” Fuller says. “There’s nothing God can’t do, because with Him, anything is possible.”
The last maiden entry to reach the summit on Christian AC Airplay was Katy Nichole’s “In Jesus Name (God of Possible),” which led for five frames starting on the list dated May 22. Among rookie solo males, Cory Asbury most recently achieved the feat before Fuller, with “Reckless Love” for 11 weeks beginning in April 2018.
A ‘Good’ Week
On Gospel Airplay, Zacardi Cortez hits No. 1 with “You’ve Been Good to Me,” which increased by 2% in plays in the tracking week.
Co-penned by Cortez, the song is the veteran artist’s fifth Gospel Airplay leader, among nine top 10s. He had last led with “You Don’t Know,” for seven weeks starting in January 2020. He first reigned as featured, with Shawn McLemore, on James Fortune & FIYA’s “I Believe,” for 19 weeks beginning in September 2010.
With five Gospel Airplay leaders, Cortez ties for the eighth-most since the list launched in 2005. Tamela Mann leads all acts with nine No. 1s.
Cortez has a second song on the Oct. 22-dated Gospel Airplay chart, as PJ Morton’s “The Better Benediction,” featuring Cortez, Gene Moore, Samoht, Tim Rogers and Darrel “MusiqCity” Walls climbs 29-28.
The all-star charity album Good Music to Ensure Safe Abortion Access to All debuts at No. 1 on Billboard’s Compilation Albums chart and also bows at No. 9 on Top Album Sales.
The 49-track set sold nearly 8,500 copies in the U.S. in the week ending Oct. 13 according to Luminate – the largest sales week for a non-soundtrack compilation album in two years.
The benefit album boasts music from Death Cab for Cutie, Fleet Foxes and Pearl Jam, among others, and was exclusively available via Bandcamp’s webstore for one day only, on Oct. 7, as a digital download. According to a press release, the album’s net proceeds will benefit non-profit organizations working to provide abortion care access to all: Brigid Alliance and NOISE FOR NOW (who are working with Abortion Care Network).
The last time a non-soundtrack compilation album sold more in a single week was two years ago, when the last Good Music charity album, Good Music to Avert the Collapse of American Democracy, Volume 2 debuted at No. 10 on Top Album Sales with 13,500 sold (Oct. 17, 2020 chart).
Good Music to Ensure Safe Abortion Access to All also debuts at No. 8 on Top Current Album Sales and in the top 40 on Independent Albums, Top Rock & Alternative Albums, Top Rock Albums and Top Alternative Albums.
Good Music additionally enters at No. 151 on the all-genre Billboard 200 chart – the highest debut by a non-R&B/hip-hop compilation in over a year. The last such set — again, excluding soundtracks — to bow higher was A-list-loaded rock tribute set The Metallica Blacklist, which debuted at No. 132 on the Sept. 25, 2021-dated chart (peaking at No. 103 on the Oct. 16, 2021 chart).
In 2020, the two Good Music to Avert the Collapse of American Democracy albums raised over $600,000 for voting-rights organizations (according to the Good Music organization).
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.
Compilation Albums ranks the week’s top-selling compilations by traditional album sales. Top Album Sales and Top Current Album Sales tally, respectively, the overall top-selling albums of the week, and the top-selling current (excluding older, or “catalog” albums) albums of the week.
Top Rock & Alternative Albums, Top Rock Albums and Top Alternative Albums rank the week’s most popular rock and alternative albums, rock albums and alternative albums, respectively, by equivalent album units. Independent Albums reflects the week’s most popular albums, by units, released by independent record labels.
Beyoncé’s Renaissance runs back up Billboard’s album charts (dated Oct. 22) following its wide vinyl release on Oct. 7. The set surges 69-2 on Top Album Sales and returns to No. 1 on Top R&B/Hip-Hop Albums, Top R&B Albums and Vinyl Albums, and hits No. 1 on Tastemaker Albums for the first time. On the Billboard 200, the former No. 1 climbs 6-3.
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Renaissance sold 47,500 copies in the U.S. in the week ending Oct. 13 (up 2,401%) according to Luminate. Of that sum, vinyl sales comprised 45,500 (up from a negligible sum the week prior) – marking the largest week for an R&B album on vinyl since Luminate began tracking sales in 1991. It’s also Beyoncé’s single-largest week on vinyl ever.
Renaissance was initially released on July 29 via streaming services, and through all retailers as a digital download and CD. At the time, its vinyl LP was exclusively available only through Beyoncé’s official webstore and in a limited quantity. It did not reach general retail until Oct. 7.
Billboard’s Top Album Sales chart ranks the top-selling albums of the week based only on traditional album sales. The chart’s history dates back to May 25, 1991, the first week Billboard began tabulating charts with electronically monitored piece count information from SoundScan, now Luminate. Pure album sales were the sole measurement utilized by the Billboard 200 albums chart through the list dated Dec. 6, 2014, after which that chart switched to a methodology that blends album sales with track equivalent album units and streaming equivalent album units. For all chart news, follow @billboard and @billboardcharts on both Twitter and Instagram.
Top R&B/Hip-Hop Albums and Top R&B Albums rank the week’s most popular R&B/hip-hop albums and R&B albums, respectively, by equivalent album units. Vinyl Albums tallies the top-selling vinyl albums of the week. Tastemaker Albums ranks the week’s best-selling albums at independent and small chain record stores.
At No. 1 on Top Album Sales, Stray Kids lock up their second chart-topper, as MAXIDENT debuts atop the tally with 110,000 copies sold — the fourth-largest sales week of any album in 2022. Of its sales sum, 97% were CD sales while 3% were digital albums. The set was not available in any other configuration for purchase.
The CD configuration of the album was issued in collectible packages (10 total, including exclusive variants for Barnes & Noble, Target and the group’s official webstore), each with a standard set of internal paper items and randomized elements (such as photocards, mini posters and stickers). CD sales were also aided by autographed editions sold via the act’s webstore.
Lamb of God collects its sixth top 10-charting effort on Top Album Sales as the rock band’s latest studio effort, Omens, bows at No. 3 with 19,000 copies sold. NCT 127’s 2 Baddies rises 9-4 with 11,000 sold (up 49%), following its Oct. 7 release in a CD digipack edition (available in nine different cover variations – one for each of the group’s members – each with a standard set of paper goods and randomized photocards).
Charlie Puth’s third full-length studio album, Charlie, debuts at No. 5 on Top Album Sales with 10,000 sold. It’s the third consecutive top five-charting album for Puth on Top Album Sales. The set was available in a handful of configurations, including two deluxe CD boxed sets (each with a branded T-shirt), a Target-exclusive version packaged with a poster, and a cassette tape and a signed CD sold through his official webstore. A vinyl edition of the album is due out on Nov. 25.
Alvvays notches its first top 10 on Top Album Sales as the act’s third album, Blue Rev, arrives at No. 6 with nearly 10,000 sold – largely from vinyl sales (6,500; a No. 4 debut on Vinyl Albums). Mac Miller’s Macadelic re-enters Top Album Sales at No. 7 with 9,500 sold (up from a negligible sum the week prior) after the album was reissued on colored vinyl for its 10th anniversary. Essentially all of the album’s sales for the week were on vinyl, and it re-enters the Vinyl Albums chart at No. 2.
Slipknot’s The End, So Far falls tumbles to No. 8 (8,500; down 83%) from its chart-topping debut a week ago.
The all-star charity compilation album Good Music to Ensure Safe Abortion Access to All debuts at No. 9 on Top Album Sales with nearly 8,500 sold – the largest sales week for a non-soundtrack compilation album in two years. The 49-track digital download album – boasting music from Death Cab for Cutie, Fleet Foxes and Pearl Jam, among others – was exclusively available via Bandcamp’s webstore for one day only, on Oct. 7. According to a press release, the album’s net proceeds will benefit non-profit organizations working to provide abortion care access to all: Brigid Alliance and NOISE FOR NOW (who are working with Abortion Care Network).
The last time a non-soundtrack compilation album sold more in a single week was two years ago, when the last Good Music charity album, Good Music to Avert the Collapse of American Democracy, Volume 2 debuted at No. 10 on Top Album Sales with 13,500 sold (Oct. 17, 2020 chart).
Good Music to Ensure Safe Abortion Access to All also debuts at No. 1 on Billboard’s Compilation Albums chart, No. 8 on Top Current Album Sales and in the top 40 on Independent Albums, Top Rock & Alternative Albums, Top Rock Albums and Top Alternative Albums.
In 2020, the two Good Music to Avert the Collapse of American Democracy albums raised over $600,000 for voting-rights organizations (according to the Good Music organization).
Rounding out the new Top Album Sales chart is Pink Floyd’s Animals, which gallops 23-10 with a little over 8,000 sold (up 122%) following the Oct. 7 release of a deluxe box set edition. The four-disc set (containing vinyl LP/CD/DVD and Blu-ray discs) sold for $99.98 in Pink Floyd’s official webstore and is packaged in a hardcover book with a 32-page booklet.
In the week ending Oct. 13, there were 1.896 million albums sold in the U.S. (up 14.3% compared to the previous week). Of that sum, physical albums (CDs, vinyl LPs, cassettes, etc.) comprised 1.53 million (up 18.1%) and digital albums comprised 366,000 (up 0.5%).
There were 715,000 CD albums sold in the week ending Oct. 13 (up 17.5% week-over-week) and 804,000 vinyl albums sold (up 18.9%). Year-to-date CD album sales stand at 26.758 million (down 7.9% compared to the same time frame a year ago) and year-to-date vinyl album sales total 30.031 million (up 1.8%).
Overall year-to-date album sales total 73.152 million (down 7.6% compared to the same year-to-date time frame a year ago). Year-to-date physical album sales stand at 57.202 million (down 2.9%) and digital album sales total 15.95 million (down 21.4%).
Grupo Frontera scores a first top 10 on Billboard’s Hot Latin Songs chart as “No Se Va” climbs 12-4 on the Oct. 22-dated ranking. The song’s fresh success comes after it topped Latin Digital Song Sales for one week and became the fifth regional Mexican song to hit the all-genre Billboard Hot 100 over its 64-year history.
“No Se Va” pushes to the upper region on Hot Latin Songs mainly on the strength of streaming activity. It logged 8.9 million official U.S. streams during the tracking week ending Oct. 13, according to Luminate. It yields a No. 26 debut on Streaming Songs and takes home the Greatest Gainer honors on Latin Streaming Songs with a 9-4 lift.
Meanwhile, sales drop by 22%, to 1,000.
On Latin Digital Songs Sales, the song cedes the throne back to Bad Bunny’s “Titi Me Preguntó” with a 1-2 dip.
“No Se Va” was released independently in April 28 and earned Grupo Frontera its first entry across Billboard’s charts with its debut in September. Plus, “No Se Va” is the second-highest charting regional Mexican song on Hot Latin Songs in 2022 — only Yahritza y Su Esencia’s “Soy El Único” went higher, reaching No. 1 in April.
Further, as mentioned, “No Se Va” also became the fifth regional Mexican song to enter Hot 100 since the list launched in 1958 (Oct. 8-dated chart). The song concurrently pushes up the chart, rallying 77-57 In its third week.
Across the globe, “No Se Va” also makes progress: it climbs 64-39 on Billboard Global 200 and 102-50 on Billboard Global Excl. U.S. chart.