Chart Beat
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Taylor Swift has made history by surpassing Madonna to become the female artist with the most No. 1 albums in U.K. chart history (Feb. 14). Swift claims her 13th chart-topper on the Official Albums Chart with Lover (Live In Paris), a live album first released in 2023 and recently reissued on special heart-shaped double-vinyl released […]
Lola Young‘s “Messy” has bagged a fourth week at No. 1 on the U.K. Singles Chart (Feb. 14). The song first claimed the top spot in January, dethroning Gracie Abrams’ “That’s So True,” which held the No. 1 position for eight non-consecutive weeks.
By earning her fourth week at No. 1, Young is now the longest-running British female artist to be at the top spot since Adele’s “Easy on Me” in 2021. It breaks a tie with Kate Bush’s “Running Up That Hill,” (2022) and Kenya Grace’s “Strangers” (2023), which both had three-week stints at the top.
This achievement also coincides with Young’s continued success on the Billboard Hot 100, where “Messy” currently sits No. 19, a slight fall of five places week-on-week. “Messy” is featured on her sophomore studio album, This Wasn’t Meant for You Anyway, which was released in May 2024; the song has now crossed 300 million streams on Spotify.
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In March, Young will compete for a BRIT Award in the pop act category against Charli XCX, Dua Lipa, Jade Thirlwall and Myles Smith. She also appeared on Tyler, the Creator’s Chromakopia as a guest vocalist on “Like Him.”
Speaking to Billboard U.K., Young discussed the success of “Messy” and why the message of self-acceptance had resonated with fans. “For a long time, I wanted to represent this ideal of Westernized beauty – but then I realized I’m not that,” she said. “I now choose to give realness and truth. I’ve got a bit of a belly out, I f–king swear a bunch and I have fun. And that’s what people are resonating with.”
Following his Super Bowl Halftime Show performance, Kendrick Lamar’s “Not Like Us” finishes the week at No. 2 and gives the Compton rapper his highest ever placing on the U.K. Singles Chart; the song initially landed at No. 6 upon release last year.
Lady Gaga’s “Abracadabra” rises three spots to No. 3, while Chappell Roan’s “Pink Pony Club” makes moves up to No. 4. Chrystal’s “The Days” rounds out the week at No. 5, and there’s post-Grammys boosts for Benson Boone (“Beautiful Things,” No. 6) and Doechii (“Denial Is a River,” No. 9).
After Billboard introduced streaming data into the Billboard Hot 100 in the 2000s, and the first streaming-based ranking, On-Demand Streaming Songs, started in 2012, the Jan. 26, 2013, issue announced the arrival of Streaming Songs, which has become Billboard’s all-encompassing streaming ranking of record since.
Incorporating on-demand and programmed streaming totals (as compiled by data tracker Luminate), Streaming Songs began affording a look into the behaviors of millions of music fans, from diehards to casual listeners, on platforms that hadn’t existed prior to the 21st century. Especially key, it showed, for the first time, repeat curated listening in a way that tracking plays of records, tapes, CDs and MP3s hadn’t previously allowed.
Streaming Songs has been ever-changing, with streaming services added to the chart’s data feed. Early on, pop and hip-hop were streaming frontrunners. Since the turn of the 2020s, genres including country and Latin, in particular, have made significant inroads. Reflecting streaming’s growth overall, Macklemore & Ryan Lewis’ “Thrift Shop,” featuring Wanz, topped the inaugural Streaming Songs chart with 1.5 million U.S. streams. On the latest list (dated Feb. 15), Morgan Wallen’s “I’m the Problem” rules with 29.2 million official clicks.
As Billboard celebrates the top-performing artists, albums and songs of the first 25 years of the century since 2000, browse below, the acts with the most No. 1s on the Streaming Songs chart in that span.
Plus, check out Top Artists of the 21st Century, Top Billboard 200 Albums of the 21st Century and Billboard’s Top Hot 100 Songs of the 21st Century charts, as well as all coverage of Billboard’s 21st Century charts here.
Billboard’s Top Artists, Top Billboard 200 Albums and Top Hot 100 Songs of the 21st Century recaps reflect performance on weekly charts dated Jan. 1, 2000, through Dec. 28, 2024. The Top Artists category ranks the best-performing acts in that span based on activity on the Billboard 200 and Billboard Hot 100. (Titles released prior to mid-1999 are excluded, although such entries that appeared on the Billboard 200 or Hot 100 in that span contribute to the calculation of the Top Artists chart.)
20, Drake
Kendrick Lamar has officially dominated the ARIA Charts this week, reclaiming the No. 1 spot on both the Albums and Singles rankings.
Following his GRAMMY wins and a high-profile Super Bowl LIX performance, GNX vaults from No. 15 back to the top, while “Not Like Us” returns to No. 1 on the Singles Chart. This marks the first time Lamar has held both positions simultaneously in Australia.
The Compton rapper now boasts three No. 1 albums in the country, with To Pimp A Butterfly (2015) and Mr. Morale & The Big Steppers (2022) also reaching the top.
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Meanwhile, Taylor Swift makes her presence known with the debut of Lover – Live From Paris at No. 14. The concert recording, initially released as a Valentine’s Day vinyl exclusive in 2023, gets a fresh boost with its reissue on heart-shaped vinyl this month. With 18 albums making the ARIA Charts throughout her career, Swift has landed at No. 1 an impressive 13 times.
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On the Singles Chart, Australian DJ Dom Dolla scores a Top 40 debut at No. 33 with “Dreamin,” featuring Daya. The ARIA Award-winning producer last cracked the Top 10 with “Saving Up” in 2023. Daya, known for her breakout hit “Hide Away” (No. 6 in 2015) and The Chainsmokers collab “Don’t Let Me Down” (No. 3 in 2016), returns to the Australian charts after nearly a decade.
Bruno Mars continues to rewrite streaming records, becoming the first artist to hit 150 million monthly listeners on Spotify. His collaboration with Rosé, “APT.,” holds steady at No. 2, while his Lady Gaga-assisted track “Die With A Smile” lands at No. 6 this week.
Speaking of Lady Gaga, the pop icon makes magic as “Abracadabra” shoots from No. 50 to No. 12. The track is the latest preview of her upcoming album Mayhem, set to drop next month. If it reaches the Top 10, it will be Gaga’s 15th ARIA Top 10 single.
GRAMMY momentum continues to propel Chappell Roan, who now holds two Top 10 ARIA singles. “Pink Pony Club” gallops from No. 22 to No. 7, while “Good Luck, Babe!”—a former No. 4 hit—remains strong at No. 10.
Brandon Lake’s “That’s Who I Praise” continues its domination on Billboard’s Christian Airplay chart (dated Feb. 15) as it reigns for a 10th week. It drew 5.2 million in audience Jan. 31-Feb. 6, according to Luminate.
The song ties for the longest rule of the decade. Housefires and JWLKRS’ “I Thank God,” featuring Blake Wiggins and Ryan Ellis, began its 10-week stay at No. 1 in December 2023.
Meanwhile, Lake has a stake in one of the songs tied for second place. Elevation Worship’s “Praise” —— featuring Lake, Chris Brown and Chandler Moore — ruled for nine frames beginning last May; Katy Nichole’s “In Jesus’ Name (God of Possible)” started its own nine-week No. 1 run in April 2022.
Since the Christian Airplay survey launched in June 2003, the longest-leading No. 1 overall is MercyMe’s “Word of God Speak,” which dominated for 23 weeks starting that August.
The 34-year-old Lake, from Charleston, S.C., co-authored “That’s Who I Praise” with Steven Furtick, Benjamin William Hastings, Zac Lawson and Micah Nichols, the lattermost of whom also produced it. It became Lake’s fourth Christian Airplay chart-topper.
“I’m completely blown away,” Lake beamed to Billboard when the single hit No. 1 on the multimetric Hot Christian Songs chart in October. “To hear that this song is connecting with so many hearts out there is humbling and just unreal.”
Dewand’s First No. 1
On Gospel Airplay, Jevon Dewand’s rookie single, “Without You,” featuring Zacardi Cortez, Gasner the Artist and Jazze Pha, climbs 3-1 (up 12% in plays).
The Atlanta-based Dewand co-wrote and co-produced the song. It’s is the lead single from his same-named album, released last June.
“Without You” becomes the first Gospel Airplay leader for Dewand, Gasner the Artist and Jazze Pha, while veteran Cortez banks his seventh No. 1.
The song marks the first freshman entry to lead Gospel Airplay since Will Smith’s turn toward the genre with “You Can Make It,” featuring Fridayy and Sunday Service, led for a week in December. It became the first No. 1 for all three acts.
Fetty Wap is back at No. 1 on a Billboard chart as “Again” jumps 8-1 to rule the TikTok Billboard Top 50 tally dated Feb. 15.
The TikTok Billboard Top 50 is a weekly ranking of the most popular songs on TikTok in the United States based on creations, video views and user engagement. The latest chart reflects activity accumulated Feb. 3-9. Activity on TikTok is not included in Billboard charts except for the TikTok Billboard Top 50.
“Again” reigns a week after its debut, coinciding with its return to the Billboard Hot 100 at No. 41; the track had previously debuted at No. 33 on the Aug. 29, 2015-dated chart, a rank that currently stands as its peak.
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Its rise is thanks to a TikTok trend; more of a meme of sorts, the song is used in a variety of clips whose audio is altered as though one is listening to “Again” through JBL speakers 10 years ago.
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“Again” earned 12.2 million official U.S. streams in the week ending Feb. 6, good for a 154% gain and a re-entry on the Streaming Songs chart at No. 30. Catalog-wide gains for Fetty Wap also drives his self-titled 2015 album to No. 33 on the Billboard 200 with 19,000 equivalent album units, the set’s best rank since May 2016.
The entire top four of the TikTok Billboard Top 50 reaches a new peak on the Feb. 15 tally, some hitting the top five for the first time as a result. Leading the trio that follows “Again”: Aphex Twin’s “QKThr,” which jumps 9-2. Having previously enjoyed a best of No. 4 (Oct. 26, 2024), “QKThr” enjoyed a boost on TikTok in late 2024 via the “subtle foreshadowing” trend and is more recently utilized in clips describing some type of “core” alongside other viral usages.
Doechii’s “Denial Is a River” vaults into the top three, jumping 15-3 for its first time in the top 10. Though the song had found success on TikTok before the 2025 Grammy Awards (it debuted at No. 50 on the Jan. 11 ranking), it’s exploded in the days following the Feb. 2 ceremony, with one of the top-performing clips an upload from her performance at the show itself, plus a bevy of lip synchs, dances and more.
“Denial Is a River,” spurred by its TikTok success plus the buzz from its Grammy performance, leaps 55-27 on the Hot 100, sporting 13.8 million streams (up 66%), 7.8 million radio audience impressions (up 32%) and 2,000 downloads (up 346%).
Earth, Wind & Fire’s “Let’s Groove,” which reached a new peak of No. 6 on the TikTok Billboard Top 50 dated Feb. 8, does two better on the Feb. 15 survey, rising 6-4 via a variety of dance videos, some following a specific trend and others highlighting their own moves to the song, which reached No. 3 on the Hot 100 in 1981.
The week’s top debut on the TikTok Billboard Top 50 belongs to Lady Gaga, whose “Abracadabra” bows at No. 9. It’s Gaga’s second top 10 in two appearances, following the No. 3 peak of “Die With a Smile,” her duet with Bruno Mars, last September.
“Abracadabra” debuts after its Feb. 2 premiere, with Gaga herself sporting many of the top-performing uploads, from behind-the-scenes clips from its music video to a post showing off her Grammys trophy (she won for best pop duo/group performance for “Die With a Smile”). Other clips show users trying to re-create the video’s choreography or making up their own dance moves.
“Abracadabra” concurrently starts at No. 29 on the Hot 100 via 13.7 million streams, 1.4 million audience impressions and 1,000 downloads.
See the full TikTok Billboard Top 50 here. You can also tune in each Friday to SiriusXM’s TikTok Radio (channel 4) to hear the premiere of the chart’s top 10 countdown at 3 p.m. ET, with reruns heard throughout the week.
“As the volume of digital distribution reaches new heights, a new Billboard chart will better detail how songs are competing in that emerging market,” read a story on page six of the Jan. 22, 2005, print issue, announcing the arrival of the Digital Song Sales chart.
Two weeks later — as we were fervently filling up our iPods with up to thousands of favorites, and taking music on-the-go more easily than ever before — paid downloads first contributed to the multimetric Billboard Hot 100.
Sales of songs had impacted the Hot 100 dating to the chart’s Aug. 4, 1958, start (then via retailers’ self-reported ranked lists. By the late 1990s and early 2000s, however, singles — which had evolved from 7-inch vinyl to cassettes and CDs — were disappearing from the marketplace, as labels began holding back song releases to entice consumers to buy (more expensive) full albums instead. The shift resulted in the Hot 100 in that period increasingly reflecting radio airplay reach.
The launch of the iTunes Store, among other digital retailers, brought single sales back, and by the mid-2000s, Billboard’s charts reflected the trend. For more than a decade beginning in the mid-2000s, the No. 1 sales hit each week regularly sold more than 100,000 downloads in the U.S., according to Luminate. In December 2015, Adele’s “Hello” ran up a weekly-record 1.1 million in digital sales.
While streaming has since taken over as the most accepted currency of on-demand song consumption — and vinyl, cassette and CD singles are again among consumer offerings — paid downloads remain a part of the Hot 100’s formula 20 years on.
As Billboard celebrates the top-performing artists, albums and songs of the first 25 years of the century since 2000, browse below, the acts with the most No. 1s on the Digital Song Sales chart in that span.
Plus, check out Top Artists of the 21st Century, Top Billboard 200 Albums of the 21st Century and Billboard’s Top Hot 100 Songs of the 21st Century charts, as well as all coverage of Billboard’s 21st Century charts here.
Billboard’s Top Artists, Top Billboard 200 Albums and Top Hot 100 Songs of the 21st Century recaps reflect performance on weekly charts dated Jan. 1, 2000, through Dec. 28, 2024. The Top Artists category ranks the best-performing acts in that span based on activity on the Billboard 200 and Billboard Hot 100. (Titles released prior to mid-1999 are excluded, although such entries that appeared on the Billboard 200 or Hot 100 in that span contribute to the calculation of the Top Artists chart.)
29, Taylor Swift
Influential French electronic duo Justice has been a staple in the dance/electronic community since the early 2000s, but the pair finally earns its first entry on the Billboard Hot 100 (chart dated Feb. 15) with a new collaboration with The Weeknd, “Wake Me Up.”
Released Feb. 7 on The Weeknd’s new album, Hurry Up Tomorrow, the song opens at No. 45 on the Hot 100 with 10.9 million official U.S. streams, 1.4 million radio audience impressions and 1,000 downloads sold in its opening week, according to Luminate. The set launches at No. 1 on the Billboard 200 with 490,000 equivalent album units earned in its first week, the largest opening figure since Taylor Swift’s The Tortured Poets Department in May 2024.
“Wake Me Up,” the first cut on Hurry Up Tomorrow, interpolates the classic title track from Michael Jackson’s 1982 album Thriller and Georgio Moroder’s “Main Title” from the 1983 film Scarface. The late Rod Temperton, who wrote “Thriller,” is credited as a co-writer of “Wake Me Up,” along with The Weeknd, Justice, Belly, Mike Dean, Johnny Jewel and Vincent Taurelle; The Weeknd, Justice, Mike Dean, Johnny Jewel produced it. Moroder, notably, is credited as a featured artist on Hurry Up Tomorrow track “Big Sleep,” which just misses the Hot 100, opening at No. 3 on the list’s Bubbling Under ranking. He has charted two songs on the Hot 100: “Chase” (No. 33 peak in 1979) and “Reach Out,” featuring Paul Engeman (No. 81, 1984).
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Justice, which comprises Gaspard Augé and Xavier de Rosnay, first appeared on Billboard’s charts with Cross, which debuted at No. 1 on the Top Dance Albums chart dated July 28, 2007. The project is noteworthy for including hundreds of samples, helping usher in the bloghouse era and, later, the EDM boom.
The duo has charted six additional projects on Top Dance Albums, including four other top 10s: A Cross the Universe (No. 8 peak in 2008), Audio, Video, Disco (No. 4, 2011), Woman (No. 1, 2016) and Hyperdrama (No. 1, 2024).
Justice has also charted three hits on the Hot Dance/Electronic Songs chart: “D.A.N.C.E.” (No. 13 peak in 2013, from Cross), “One Night/All Night,” with Tame Impala (No. 10, 2024) and “Neverender” (No. 8, 2024).
“Neverender” won best dance/electronic recording at the 67th Grammy Awards. It’s the pair’s third Grammy win, joining trophies for best remixed recording, non-classical for “Electric Feel (Justice Remix)” in 2009 and best dance/electronic album for Woman Worldwide in 2019. Cross was nominated for best electronic/dance album in 2008, while its breakout song “D.A.N.C.E.” earned a nod for best dance recording.
Justice’s collaboration with The Weeknd was first teased more than a year ago, when a demo leaked online. In an interview ahead of the release of Hyperdrama, Justice’s longtime manager Pedro Winter told Billboard that the duo had been inspired to partner with collaborators who felt like authentic fits.
“Justice has been a band saying ‘no’ to everything, exactly like when I used to work with Daft Punk,” he said. “They really wanted to focus on their own music. Now it has been a 20-year career, so it’s time to open the door and work with other people,” adding “Of course, a lot of [their fans] will not get the Justice sound … but out of those millions, let’s try to grab the attention and love of some of them.”
BE:FIRST’s “Spacecraft” debuts at No. 1 on this week’s Billboard Japan Hot 100, dated Feb. 12.
The sixth single by the seven-member boy band dropped Feb. 5 and launched with 104,639 CDs to hit No. 1 for the metric. The track also dominates downloads (26,475 units), radio airplay, and video views to top the Japan Hot 100 with a big lead on the runner-up. This is the ninth No. 1 single by the group, including “Hush-Hush,” its collaborative track with ATEEZ.
Mrs. GREEN APPLE’s “Lilac” rises a notch to No. 2 this week. Although overall points are down, the track continues to show strength in several metrics including streaming (No. 1 for 23 weeks total) and karaoke (No. 1 for 5 weeks in a row). Dropping 2-3 is “Darling” by the three-man band, which currently boasts 18 singles charting on the Japan Hot 100 with five in the top 10 this week.
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Kenshi Yonezu’s “Plazma” rises 5-4. Streams for the Mobile Suit Gundam GQuuuuuuX -Beginning- theme song is at 88% and video views at 86% compared to the week before, and the single comes in at No. 2 for downloads, No. 4 for streaming, No. 32 for radio, and No. 8 for video.
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Rosé & Bruno Mars’ “APT.” rises 3 slots to No. 5. After more than 3 months since its release, the global hit is currently at No. 9 for downloads (3,233 weekly units), No. 3 for streaming, No. 23 for radio, No. 9 for video, and No. 23 for karaoke.
In other chart moves, Lady Gaga & Bruno Mars’ “Die With a Smile” returns to the Japan Hot 100 for the first time in about five months at No. 83, after winning the Grammy for best pop duo/group performance at the ceremony on Feb. 2.
The Billboard Japan Hot 100 combines physical and digital sales, audio streams, radio airplay, video views and karaoke data.
See the full Billboard Japan Hot 100 chart, tallying the week from Feb. 3 to 9, here. For more on Japanese music and charts, visit Billboard Japan’s English X account.
Billboard’s electronically-monitored Radio Songs chart dates back to the Dec. 8, 1990, print issue.
“Billboard this week introduces the Top 40 Radio Monitor, a new airplay-only chart that provides actual monitored airplay data on top 40/pop stations,” announced a story on page 4 that week. “The chart uses a new technology [that] tracks airplay of songs 24 hours a day, seven days a week, in markets where monitors have been installed. The monitors identify each song played by an encoded audio ‘fingerprint.’ Top 40 is the second format in which this information will be made available to our readers; the [Country Airplay] chart has used the methodology since the Jan. 20 issue.
“The Top 40 Radio Monitor chart is compiled by counting the number of times each record is played on each monitored station,” the story further explained. “Each play is multiplied by the number of listeners at that exact time, using [Nielsen Audio] data.”
Starting with the Nov. 30, 1991-dated Billboard Hot 100, the Top 40 Radio Monitor took over as the multimetric Billboard Hot 100’s radio measurement component (replacing stations’ self-reported ranked lists, which had reflected airplay popularity dating to the Hot 100’s Aug. 4, 1958, start). Since renamed Radio Songs, the chart started with a panel of 109 pop stations – in 1998, it expanded to all formats and currently sports more than 1,100 reporters, as monitored by Mediabase with data provided to Billboard by Luminate. A selection of stations remain reporting three-and-a-half decades after the chart began, including WHTZ (Z100) New York and KIIS Los Angeles.
Mariah Carey ruled Radio Songs in the ‘90s with eight of her 11 career No. 1s during the decade. She logged the list’s first leader, “Love Takes Time.”
Who has the most Radio Songs No. 1s over the first quarter of the 21st century? As Billboard celebrates the top-performing artists, albums and songs of the first 25 years of the century since 2000, browse below, the acts with the most No. 1s on the Radio Songs chart in that span.
Plus, check out Top Artists of the 21st Century, Top Billboard 200 Albums of the 21st Century and Billboard’s Top Hot 100 Songs of the 21st Century charts, as well as all coverage of Billboard’s 21st Century charts here.
Billboard’s Top Artists, Top Billboard 200 Albums and Top Hot 100 Songs of the 21st Century recaps reflect performance on weekly charts dated Jan. 1, 2000, through Dec. 28, 2024. The Top Artists category ranks the best-performing acts in that span based on activity on the Billboard 200 and Billboard Hot 100. (Titles released prior to mid-1999 are excluded, although such entries that appeared on the Billboard 200 or Hot 100 in that span contribute to the calculation of the Top Artists chart.)
13, Rihanna