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When Rema is in the studio, he pursues sounds and sensations that he says touch his soul. Ignoring this instinctive creative process could’ve yielded a different rendition of a “Calm Down” remix — possibly one without Selena Gomez.
The original version of the Nigerian musician’s midtempo hit “Calm Down” arrived a year ago as the second single from his March 2022 debut studio album, Rave & Roses. The enticing, ambient song finds Rema pleading with a young woman at a local club to trust that his intentions are pure. The track, produced by fellow Nigerian native Andre Vibez, oozes with his signature style of Afrobeats, which he calls Afro-rave — a subgenre influenced by his love for hip-hop, African music, lo-fi and alternative.
After Rema, 22, noticed the single beginning to take off (debuting on the Billboard U.S. Afrobeats Songs chart two months after its release), he knew he had to capitalize on the momentum, so he trusted his gut and recruited a woman “take it up to the next level” — and immediately knew that Gomez was the right fit. The “Calm Down” remix reaches a new No. 26 high on this week’s Billboard Hot 100 and holds its top position on the Billboard U.S. Afrobeats Songs chart for a 23rd week. Billboard spoke with the rising artist about the making of his biggest hit to date, his plans to give back to Nigeria and pushing Afrobeats forward.
How did you link with Selena Gomez for the “Calm Down” remix?
It started with being a fan [and] supporting her music. She actually came across my music too, and she also wrote to me. Our teams got familiar and we started working towards this good music that came out. It started that from friendship, to colliding our teams together, and everyone is like a big family right now. It was very much organic, and we made it happen, and it’s just so huge. I’m amazed.
When after the original “Calm Down” did you think you needed a remix, and why was Selena the right person to match the vibe?
[Around] June, I started seeing the impact. I hit my team [like], “I think this might be a song I would like to do a remix to.” I don’t really do remixes — most of my songs are solo or features. I wanted a female voice on the song. The song was already blowing up, so I felt like we needed someone that could take it up to the next level. From our discussions, planning, and available contacts and friendship, Selena was the best bet. I had my fingers crossed she would agree. Luckily for us, she did and we felt no need to reach out to anybody else.
What has it been like watching the song transform into a global hit?
Every day I wake up to good news. Not just good news about how well my career is going; it’s about how well my culture is flying. Afrobeats is going to the next level. This song is opening doors and bridges. Listeners want to know what more is coming from Nigeria, what more is coming from Africa. I’m so happy. I’m happy for me, my team, the culture and for Selena. She embraced the sound, and she did her own thing. It was the right timing [with] the right person, and the impact has been so huge. Seeing people who don’t speak my language sing my song word-for-word really shows that people are impacted by the sound, and I’m grateful for it.
Why do you think “Calm Down” has been such a long-lasting hit?
It’s not just about the song — it’s also about me and the gift that God has blessed me with. I work in the studio with no plans. I just create. However any of my songs go, I love them the same way. I push them the same way. I feel like people just pick whatever resonates with them. There’s no single element I could really pick out. If I focus on that, that would just box me in somehow. I don’t know what it is, it’s just good music.
Tell me about the song’s creative process. Did you assist Selena with her verse?
That was all Selena and her team. I don’t really know what her creative process is like, but we did it remotely and she was very concerned about how the record was supposed to turn out. Every move she made on the song, she always wanted to know if I was good with it. Some artists just be like, “Whatever I did is dope. Have it,” but she wanted to know if I resonated with whatever she did on it — and I did. I loved it. The only part I switched was with my producers: we touched more parts of the beat and let her verse breathe, but nothing else.
What have you learned from working with her?
When working with other artists, you should care every step of the way. She cared. I learned caring. When she started working on it, she called me on FaceTime, and we talked a little about it. The mixing, the music video, making sure that she didn’t take from it. It wasn’t like, “Oh, [it’s] Selena Gomez, so we have to switch the whole idea to something else,” she just embraced it. She’s such a hard worker, knowing how much she does. She acts, she has a makeup line, she does music. She has busy s–t to do, but she’s been promoting [to] her fanbase and has been very genuine, loving, kind and supportive of me. Even aside from “Calm Down,” [her fanbase] also supports my other music, just because I did a collaboration with Selena. That’s amazing.
What was the song’s initial inspiration?
I was at a party, and a couple of girls walked in, and I saw a girl in yellow. I wanted to talk to her and her friends were being really stuck up. They didn’t really want to chat. And I was like, “Yo, just calm down. Let’s have a chat.” And then she actually calmed down, and we started talking and dancing. When she left the party, she was on my mind, and I wanted to see her again. That was it. I walked in the studio fresh out of that emotion.
Who is your dream collaboration?
Bad Bunny. That’s my dream collab right now.
In an interview with Rolling Stone, you called your sound Afro-rave. Would “Calm Down” be a part of that movement or is this something entirely different?
Any music that comes from my mouth is Afro. You can tell that my sound is very distinctive out of every other Afrobeat artist, but it doesn’t take away the fact that Afro-rave was birthed through Afrobeats. [Afro-rave] is a subgenre. Burna [Boy] has his subgenre because he’s the only one doing him, you feel me? CKay, Fireboy DML, etc., they all got what they do, and some people just keep it straight with the old genres. I didn’t take it away from Afrobeat being my inspiration, but it’s just me posing to evolve the sound to something else. I worked hard for the sound, [and] I got criticized a lot until it started making its own wave. So I feel like it needs to be labeled. It’s knowing something is special and you trademark it. It’s me vouching for my art, my creation.
What’s next for you?
I really want to keep focusing on impacting the African youth. I feel like before I started getting global [recognition], my fellow Africans have been my huge propeller. They’re the ones who took me to the world.
I want to focus on building up our trust between artists and fanbases. We’re doing so much [in] other parts of the world [that] are developed and have better infrastructure. Whatever is coming into the culture, I would like to reinvest in it. We have to start putting up good shows. We have to start making people come to us. It’s good to do world tours, but we all need to come together to build Africa. As much as we are traveling, making the news, blah blah blah, I just really want to focus on home.
What do you want to do specifically to focus on the African youth and give back to your community?
I wouldn’t say it’s on some charity level type s–t. It’s based on the infrastructure that creators need. There are a lot of complaints coming from directors, painters, even musicians — fans don’t trust artists anymore because the shows are not being put up nicely. We need infrastructure. It’s important. The rest of the world is giving us that, but I think it’s very important that we actually invest in ourselves, because we really want the world to come to us.
They’re going to Ghana, they’re going to Tanzania, they’re going to a lot of places to watch Afrobeats artists, but we really need to focus on Nigeria here right now. The lineups in different African countries are a lot of Nigerian artists, but our infrastructure is very necessary.
A version of this story originally appeared in the Feb. 4, 2023, issue of Billboard.
Welcome to The Contenders, a midweek column that looks at artists aiming for the top of the Billboard charts, and the strategies behind their efforts. This week (for the upcoming charts dated Feb. 18), as TOMRROW X TOGETHER’s new EP drops in sales in its second week, new albums from Shania Twain and Raye look to seize the Billboard 200’s top spot, with SZA’s SOS still lurking.
Shania Twain, Queen of Me (Republic): Few artists in the history of popular music have a resumé of hit albums to match Shania Twain’s: She’s released three RIAA Diamond-certified albums, including 1997’s double-Diamond Come on Over. No one would expect her Queen of Me, released Friday (Feb. 3), to reach similar sales heights decades later — though her last album, 2017’s Now, topped the Billboard 200, albeit with a ticket bundle that undoubtedly contributed to her first-week sales of 134,000.
Twain won’t receive any such boost for Queen of Me — those bundles were eliminated from Billboard chart calculations in Oct. 2020. But she will be helped by multiple vinyl and CD variants, including exclusives for both Target and Walmart (the Target CD has 2 bonus tracks, while Walmart’s CD has an alternate cover). Her webstore and indie retail are also selling a signed CD, while her webstore also has a couple of deluxe box set editions with a signed CD and T-shirt inside. Plus, she’s still riding the momentum from her Netflix documentary Not Just a Girl, which resulted in a catalog-wide spike for the country-pop legend last August.
Raye, My 21st Century Blues (Human Re Sources): After going through a high-profile dispute and breakup with former label Polydor, British soul-pop singer-songwriter Raye went indie and landed the biggest global hit of her career, with the 070 Shake-assisted (and TikTok-launched) heartbreak lament “Escapism.” That single has topped the U.K.’s Official Charts and climbed to No. 22 on the Billboard Hot 100, setting the stage for her debut studio album My 21st Century Blues.
Raye has a couple of vinyl variants available for Blues, including a signed edition sold on her webstore as well as a signed CD and a cassette tape that are also listed for sale there. She and Twain are already locked into a battle for No. 1 in the U.K., so it’s possible that any additional measures — including extra last-minute new promotions and album variants — will spill into their race on the Billboard 200.
Harry Styles, Harry’s House (Erskine/Columbia): The album of the year winner at Sunday’s Grammys may see a gain on the charts this week thanks to renewed streaming interest: Second single “Late Night Talking” was the biggest mover on Spotify’s US Daily Top 200 on Monday, while four other songs re-entered the chart. The album currently sits at No. 13 on the Billboard 200, so the increase will likely be enough to at least get it back into the chart’s top 10. (Beyoncé’s Renaissance is currently 11 spots below it at No. 24 — and in addition to the boost it should receive post-Grammys, that album will also benefit from a spate of “Cuff It” remixes recently released for sale on Bey’s webstore, which were also just made available on digital retailers this Wednesday.)
Lower on the chart, another artist should also benefit from a Grammy bump: best new artist winner Samara Joy. While she’s unlikely to contend in the Styles-Beyoncé regions of the chart, her Linger Awhile album should appear somewhere this week, marking her first-ever entry on the Billboard 200.
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: Just like she did 33 years earlier, Bonnie Raitt rides a surprise Grammy win to a big commercial boost, while a rising tide lifts all 2023 Morgan Wallen singles and a new remix proves that two viral sensations are better than one.
And “Just Like That…,” Bonnie Raitt’s Post-Grammys Sales & Streams Are Way Up
Few Grammy watchers expected Bonnie Raitt to take home song of the year at Sunday’s (Feb. 5) awards — perhaps least of all Raitt herself, as judged by her heavily memed surprised reaction to the announcement — for the devastating, self-penned title track to her 2022 album Just Like That. The song was easily the least commercially visible of the 10 tracks nominated, the other nine of which were all top 20 hits on the Billboard Hot 100. (Raitt has not reached the Hot 100 since 1995.)
That lack of commercial profile for “Just Like That” to that point, however, has just meant that there’s plenty of curious listeners now intrigued enough by the song’s big Grammy win to check it out for the first time. The song absolutely blasted off on streaming services following its song of the year victory, spiking from just over 10,000 daily official on-demand U.S. streams two days before the Grammys (Feb. 3) to a whopping 697,000 the Monday after (Feb. 6) — a gain of around 6,700%, according to Luminate.
Click here to read the full story over at Billboard Pro.
Morgan Wallen’s New Hits Are Big Enough to Boost His Older Ones
Morgan Wallen’s One Thing at a Time is most likely going to be one of the biggest albums of 2023, if its pre-release tracks are any indication: As noted earlier this week, nine songs have been released so far from the 36-song project, and seven of them have already hit the top 10 of the Hot Country Songs chart. The trio of songs that Wallen issued last week — “Last Night,” “Everything I Love” and “I Wrote the Book” — are doing so well, in fact, that their releases have spurred notable streaming gains for a pair of the country star’s previously released hits.
Since its Jan. 31 release, “Last Night” has established itself as the breakout hit of the new three-pack, with daily U.S. official on-demand streams exceeding 3.38 million through Feb. 5 and peaking at 4.68 million on Feb. 3, according to Luminate. The track debuted at No. 3 on Country Streaming Songs, and became Wallen’s ninth No. 1 on the Country Digital Song Sales chart. Meanwhile, “Everything I Love” and “I Wrote the Book” have each been logging seven-figure daily streams since their releases, peaking at 2.22 million and 2.26 million, respectively, on their release dates.
Yet the new trio of songs have also generated enough interest around Wallen to boost streams for the One Thing at a Time title track, which was released in December, as well as “Thought You Should Know,” a promotional single unveiled in November. On the day that the three-pack was released, U.S. on-demand streams for “One Thing at a Time” jumped 88% to 1.45 million, while “Thought You Should Know” scored a 42% uptick to 1.47 million streams. Both songs’ daily streams hovered above the 1 million mark through Feb. 5.
One Thing at a Time is due out Mar. 3, and Wallen has announced a stadium tour in support of the follow-up to 2021’s Dangerous: The Double Album. “Last Night” should have a major chart bounce during its first full tracking week — we’ll see how much his other songs continue to benefit alongside Wallen’s latest hit.
Song’s a Hit: PinkPantheress Song Boosted to Breakout Status by Ice Spice Remix
Before 2023, pop&B singer-songwriter PinkPantheress and rapper Ice Spice were two of the decade’s most exciting young artists yet to score a Billboard Hot 100 hit, both finding TikTok success, social media buzz and critical acclaim for their early singles but not yet quite getting all the way overground. Ice Spice got on the board this January, however, with the release of her Lil Tjay collab “Gangsta Boo” (debuting at No. 82 on the Hot 100) from her Like..? EP — and now she might be the key ingredient in getting PinkPantheress her first entry there, too.
Ice Spice adds a guest verse for the new remix to PinkPantheress’ streaming hit “Boy’s a Liar” — titled “Boy’s a Liar, Pt. 2” — which debuted last Friday (Feb. 3). Since the release of the new version (which for Billboard chart purposes, gets grouped along with the original when it comes to consumption numbers), daily official on-demand U.S. streams of “Boy’s a Liar” have steadily ballooned from 464,000 on Feb. 2 (the day before) to just under 3 million on Feb. 6, a 541% gain, according to Luminate. As the numbers keep growing, “Liar” seems on pace to become easily the biggest chart hit yet for both artists — and perhaps one of pop music’s biggest breakout stories of early 2023.
Sandaime J SOUL BROTHERS from EXILE TRIBE’s “Stars” blasts in atop the latest Billboard Japan Hot 100, dated Feb. 8, becoming the group’s first No. 1 hit in about three and a half years since their single “Scarlet feat. Afrojack” that led the chart in August 2019.
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“Stars” is a hot new number written by music producer sty, creator of the song “R.Y.U.S.E.I.” that finished at No. 1 on Billboard Japan’s year-end song chart for 2015 after being released in June 2014. The new single is off to a great start, launching at No. 1 for sales with 104,841 copies sold, while also hitting No. 3 for radio airplay, No. 6 for downloads, No. 17 for video views, and No. 37 for streaming.
Official HIGE DANdism’s “Subtitle” holds at No. 2 on the Japan Hot 100 after slipping from the top spot last week. The four-man band’s record-breaking single continues to rule streaming for the 16th week in a row with 11,352,196 streams. While down by about 2 percent from the previous week, weekly streams for the track are still more than 3 million ahead of the song at No. 2, Kenshi Yonezu’s “KICK BACK” with 8,112,798 streams. Although the downward trend continues, the number of views isn’t expected to drop significantly and the track is likely to still hover near the top of the charts.
The Billboard Japan Hot 100 combines physical and digital sales, audio streams, radio airplay, YouTube and GYAO! video views and karaoke data.
See the full Billboard Japan Hot 100 chart, tallying the week from Jan. 30 to Feb.5, here. For more on Japanese music and charts, visit Billboard Japan’s English Twitter account.
Junior H and Oscar Maydon each score their first career entry on the Billboard Hot 100, as their team-up “Fin de Semana” opens at No. 86 on the chart dated Feb. 11.
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The song, released via Rancho Humilde, debuts almost entirely on the strength of its streaming sum: 5.6 million U.S. streams (up 11%) in the Jan. 27-Feb. 2-dated tracking week, according to Luminate.
The song concurrently climbs 12-10 on Hot Latin Songs, becoming the first top 10 hit for each artist.
TikTok has been a significant factor in the song’s growing profile, as a portion of the track’s audio has been used in nearly 100,000 clips on the platform. (TikTok does not presently contribute directly to Billboard’s charts.)
Junior H (born Antonio Herrera Perez), is relatively new to Billboard’s charts. The singer-songwriter, from Guanajuato, Mexico, first landed on a Billboard survey in November 2019, thanks to his featured credit on Natanael Cano’s “Ella.” The single reached No. 29 on Hot Latin Songs in February 2020.
Since then, Junior H, 23, has charted 10 additional Hot Latin Songs hits, including eight collaborations, with acts including Eslabon Armado, Luis R Conriquez and Marca Registrada.
Junior H has also sent two albums onto the all-genre Billboard 200 chart: $ad Boyz 4 Life (No. 192 peak in 2021) and Mi Vida En Un Cigarro 2 (No. 138, 2022). Both sets also hit No. 1 on the Regional Mexican Albums chart, as did his 2020 collection Cruisin’ With Junior H. He also reached the chart’s top five with Atrapado En Un Sueno (No. 2) and Musica
Jelly Roll makes history on Billboard’s latest Emerging Artists chart (dated Feb. 11) as he scores a record-breaking 25th week at No. 1.
He surpasses the 24-week reign of NLE Choppa in 2019-20 to set a new mark for the most time spent at No. 1 in the chart’s seven-year history.
Jelly Roll (aka Jason DeFord) continues his command as his latest chart hit, “Need a Favor,” ranks at No. 33 on Hot Rock & Alternative Songs (after reaching No. 25) and No. 42 on Hot Country Songs (its peak). It also rises 46-43 on Country Airplay.
Jelly Roll’s No. 1 run has also been powered by his songs “Son of a Sinner,” “Dead Man Walking,” “She” and “Son of the Dirty South.” The first two are from his LP Ballads of the Broken, which in September became his third entry on the Billboard 200.
“Son of a Sinner” topped the Country Airplay chart dated Jan. 14. “There is no greater reward for a singer and songwriter in Nashville, Tenn., than to have the No. 1 song on country radio,” Jelly Roll, 38, said of the coronation of the song, which he co-penned. “Now imagine that happening to a guy that grew up in this town … a guy that at every turn for the first 25 years of his life made the wrong decision. Imagine everyone telling that guy he had no chance at country radio. If you can imagine that, then you can understand why I’m so filled with gratitude. Thank you to … every single person that helped make this dream come true.”
“Son of a Sinner” reached No. 31 on the Billboard Hot 100 in October. It became his first entry on the chart. (Artists “graduate” from Emerging Artists after reaching the top 25 of either the Hot 100 or Billboard 200, among other qualifiers; see below.)
Rounding out the top five of the Emerging Artists chart, Coi Leray climbs 5-2, NewJeans hold at No. 3, Nate Smith keeps at No. 4 and d4vd rises 6-5.
The Backseat Lovers re-enter Emerging Artists at No. 8, a new high, as the group’s reissued 2019 LP When We Were Friends arrives at No. 23 on Alternative Albums, and No. 199 on the Billboard 200, with 7,000 equivalent album units earned, according to Luminate. It also opens at No. 5 on Vinyl Albums and No. 17 on Top Album Sales.
Plus, The Arcs, which include The Black Keys’ Dan Auerbach, debut at No. 9 on Emerging Artists, thanks to sophomore project Electrophonic Chronic. The set opens at No. 8 on Vinyl Albums and No. 12 on Top Album Sales, while its single “Eyez” rises 26-22 on Adult Alternative Airplay.
The Emerging Artists chart ranks the most popular developing artists of the week, using the same formula as the all-encompassing Billboard Artist 100, which measures artist activity across multiple Billboard charts, including the Hot 100, Billboard 200 and the Social 50. (The Artist 100 lists the most popular acts, overall, each week.) However, the Emerging Artists chart excludes acts that have notched a top 25 entry on either the Hot 100 or Billboard 200, as well as artists that have achieved two or more top 10s on Billboard’s “Hot” song genre charts and/or consumption-based “Top” album genre rankings.
For all chart news, you can follow @billboard and @billboardcharts on both Twitter and Instagram.
Bad Bunny and Rauw Alejandro’s “Party” team-up conquers Billboard’s Latin Airplay chart as the track rises 4-1 on the Feb. 11-dated ranking. It’s the fourth single from Bad Bunny’s Un Verano Sin Ti to lead the all-genre tally.
“Party” dances its way to No. 1 with a 9% gain in audience impressions, to 10.2 million, earned in the U.S. in the week ending Feb. 2, according to Luminate. It sends Bizarrap and Shakira’s “Bzrp Music Sessions, Vol. 53” to No. 3 after its one-week command, with a 6% dip in audience (9.5 million during the tracking week).
With the new champ, Bad Bunny improves his career total to 20 No. 1s on Latin Airplay, the eighth-most since the chart launched in 1994. Meanwhile, Rauw collects his 10th champ.
As “Party” hits No. 1 on the all-genre tally, Bad Bunny claims a fourth leader from his No. 1 album Un Verano Sin Ti, starting with “Moscow Mule” (July 2022), “Me Porto Bonito,” with Chencho Corleone (August 2022), and “Titi Me Preguntó” (September 2022).
Notably Bad Bunny is among 10 artists to claim at least four No. 1s on Latin Airplay from the same studio album since the list’s inception. Further, he is just the third act to achieve the feat with at least two albums or more. He joins Romeo Santos (five No. 1s from Formula, Vol. 1 and Formula, Vol. 2; four champs from Golden) and Enrique Iglesias (five No. 1s from Enrique Iglesias; four leaders from Final, Vol. 4) Here’s the leaderboard:
Years, Artist, Album Title, Number of Latin Airplay No. 1s
1995-1996, Enrique Iglesias, Enrique Iglesias, five
1997-1998, Alejandro Fernández, Me Estoy Enamorando, four
2011-2013, Romeo Santos, Formula, Vol. 1, five
2013-2015, Romeo Santos, Formula, Vol. 2, five
2016-2021, Enrique Iglesias, Final, Vol. 1, four
2017-2018, Romeo Santos, Golden, four
2017-2019, Luis Fonsi, Vida, four
2019-2020, Bad Bunny, YHLQMDLG, four
2019-2020, Ozuna, Nibiru, four
2019-2022, Sebastián Yatra, Dharma, five
2020-2021, Black Eyed Peas, Translation, four
2020-2021, Karol G, KG0516, five
2020-2022, J Balvin, Jose, four
2022-2023, Bad Bunny, Un Verano Sin Ti, four
Elsewhere, “Party” holds at No. 1 for a second week on Latin Rhythm Airplay.
Feid scores his first entry on the Billboard Hot 100 chart (dated Feb. 11), as Ozuna’s “Hey Mor,” on which he’s featured, debuts at No. 96.
The song, released Oct. 7 via Aura/Sony Music Latin, enters the Hot 100 with 8.7 million radio airplay audience impressions (up 52%) and 3.7 million official U.S. streams in the Jan. 27-Feb. 2 tracking week, according to Luminate.
The song concurrently surges 15-8 on Latin Airplay, where it becomes Feid’s third top 10, and Ozuna’s 37th. It also pushes 14-11 on Hot Latin Songs.
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TikTok has been a big factor in the song’s growing profile, as the track has been used in more than 800,000 clips on the platform to date. (TikTok does not presently contribute directly to Billboard’s charts.)
Feid (real name: Salomón Villada Hoyos) has maintained a steady presence on Billboard’s charts since he scored his first entry in 2016 with his J Balvin collaboration “Que Raro.” The track reached No. 43 on Latin Airplay and No. 47 on Hot Latin Songs that December.
Since then, he’s charted 10 additional tracks on the Hot Latin Songs chart. As “Hey Mor” climbs to No. 11, it ties his 2020 hit “Porfa,” with J Balvin, Maluma, Nicky Jam, Sech and Justin Quiles, as his highest-charting song on the survey.
Feid concurrently places four other tracks on the latest Hot Latin Songs list: “Yandel 150,” with Yandel (No. 16); “Feliz Cumpleaños Ferxxo” (No. 28); “Chorrito Pa Las Animas” (No. 31); and “En La de Ella,” with Jhayco and Sech (No. 37).
On Latin Airplay, “Hey Mor” marks Feid’s fifth career entry. Prior to the song’s ascent to the top 10 on Feb. 11, he reached the tier with “Porfa” (No. 1 for one week) and “Normal” (No. 4 peak this January).
Feid has additionally sent five titles onto the Top Latin Albums chart, one of which hit the top 10: Feliz Cumpleaños Ferxxo: Te Pirateamos El Álbum (No. 6 peak, October 2022). The set also sparked Feid’s first visit to the Billboard 200 (No. 188 peak).
On Jan. 31, Feid was announced as a headliner at this year’s all-Latin Sueños Music Festival, to be held Chicago’s Grant Park May 27 and 28.
TOMORROW X TOGETHER re-enter the Billboard Artist 100 chart (dated Feb. 11) at No. 1, becoming the top musical act in the U.S. for the first time, thanks to the group’s new EP The Name Chapter: TEMPTATION.
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The set debuts at No. 1 on the Billboard 200 with 161,000 equivalent album units earned in the Jan. 27-Feb. 2 tracking week, according to Luminate. It earns the South Korean vocal group its first No. 1 on the ranking.
TXT is the first K-pop act to top the Artist 100 chart in 2023 and the first since Stray Kids scored its second week on top in October. The other K-pop acts to top the Artist 100 are BTS (21 weeks at No. 1), BLACKPINK (two), SuperM (one) and TWICE (one).
Elsewhere on the Artist 100, Sam Smith vaults 47-9, returning to the top 10 for the first time since November 2020. Smith’s return to the tier is powered by their new album Gloria, which debuts at No. 7 on the Billboard 200 (39,000 units). Smith has spent four weeks at No. 1 on the Artist 100—three in 2014 and one in 2017.
The Artist 100 measures artist activity across key metrics of music consumption, blending album and track sales, radio airplay and streaming to provide a weekly multi-dimensional ranking of artist popularity.
New music from TOMORROW X TOGETHER and Morgan Wallen occupy the top five of Billboard’s Hot Trending Songs chart dated Feb. 11.
Billboard’s Hot Trending charts, powered by Twitter, track global music-related trends and conversations in real-time across Twitter, viewable over either the last 24 hours or past seven days. A weekly, 20-position version of the chart, covering activity from Friday through Thursday of each week, posts alongside Billboard’s other weekly charts on Billboard.com each Tuesday, with the latest tracking period running Jan. 27-Feb. 2.
“Tinnitus (Wanna Be a Rock),” from TOMORROW X TOGETHER’s new five-song EP The Name Chapter: TEMPTATION (released Jan. 27), starts at No. 1. It’s followed by fellow entries from the EP “Devil By the Window” (No. 3), the Coi LeRay-featuring “Happy Fools” (No. 5), “Farewell, Neverland” (No. 7) and “Sugar Rush Ride” (No. 15).
Concurrently, TEMPTATION bows at No. 1 on the Billboard 200, as previously reported, with 161,000 equivalent album units earned, according to Luminate. Each of the songs also reach the World Digital Song Sales tally, led by “Ride” at No. 1 (3,000 downloads).
Wallen’s “Everything I Love,” “Last Night” and “One Thing at a Time” appear on the ranking at Nos. 2, 4 and 16, respectively. The former two were released Jan. 31 ahead of the country singer’s new album, One Thing at a Time, due March 3, while the latter premiered in 2022.
“Night” and “Love” concurrently debut at Nos. 27 and 61, respectively, on the Billboard Hot 100, while “Time” jumps 73-54.
Linda Ronstadt’s “Long Long Time,” released in 1970, also sees a No. 6 debut thanks to its appearance in the Jan. 29 episode of HBO’s The Last of Us.
Keep visiting Billboard.com for the constantly evolving Hot Trending Songs rankings, and check in each Tuesday for the latest weekly chart.
