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They were the final rapper to appear in the Grammys’ 50th anniversary tribute to hip-hop mega-medley, and now they’re back in the top 10 of the Billboard Hot 100: Lil Uzi Vert, whose “Just Wanna Rock” climbs from 12 to 10 on the chart dated Feb. 11.
Uzi started the 2020s as one of the biggest artists in popular music, with their Eternal Atake album blanketing the Hot 100 and posting one of the year’s best first-week numbers. But they haven’t released a new album since then, and their single and EP releases over the last three years failed to generate the same level of excitement — until the Jersey Club-influenced “Rock” started taking off in late 2022.
Is Uzi officially back? And what might be able to put “Rock” over the top on the Hot 100? Billboard staffers answer these questions and more below.
1. “Just Wanna Rock” peeks into the top 10 this week, in its 16th week on the listing. What do you think the biggest reason is behind its late growth into a top 10 hit?
Carl Lamarre: I think it took people time to get it. The Jersey Club sound has a place in hip-hop but picked up incredible steam as of late, courtesy of “Rock” and the DJ Smallz 732 remix of Coi Leray’s “Players.” Later, it became a huge hit — as most of Uzi’s records do — on social media. And, of course, Uzi’s penchant for showy dance moves also gave the track an extra boost, as previously proven with their “Futsal Shuffle.”
Cydney Lee: Good question. I’m going to throw a dart and say the timing of its release. Uzi dropped this in October and the video came a month later then the holidays hit which slowed things down. Now it’s a new year, people’s energy is different and the countdown to spring and summer has started. Maybe that’s it. But “Just Wanna Rock” and Jersey Club in general, has been going crazy on TikTok, being the soundtrack to viral dance trends and I think this popularity and growth is mostly coming from the youth. (Also, the song will climb even higher when my (the) Philadelphia Eagles win the Super Bowl!!!)
Elias Leight: The track’s growing presence at radio helped push it into the upper reaches of the Hot 100. “Just Wanna Rock” has been earning more than 18 million on-demand streams a week (including UGC) since back in November, according to Luminate. (That number was actually above 21 million for much of December.) Radio often lags behind streaming, and sure enough, the audience that encountered “Just WannaRock” on the airwaves has grown more slowly. But it has risen considerably since Christmas, closing in on 30 million and helping to propel Lil Uzi Vert back into the top 10.
Jason Lipshutz: “Just Wanna Rock” is a proudly strange single that rejects normal song structure, swerves away from Lil Uzi Vert’s established sound and deploys hooks that take time to worm their way into your heart; I was reluctant to embrace “Rock” when it was first released, and now, I play it multiple times a day. I’d bet that plenty of Uzi fans and casual hip-hop listeners have experienced a similar evolution — perhaps spurred on a little by hearing the song in a sports arena, where it’s been absolutely inescapable this winter. “Just Wanna Rock” is not a one-listen type of smash, so it makes sense that it needed a few months (a several dozen NBA arena spins) to surge into the top 10.
Andrew Unterberger: Not sure if it’s the biggest reason, but I do think its increased use within the sports world — as both a go-to jock jam in arenas and stadiums and a locker-room favorite of teams (including Uzi’s Super Bowl-bound hometown Philadelphia Eagles) has helped its momentum, and given it much-needed pop culture context for those who might’ve otherwise found it confusing. Regardless, I look forward to hearing it during pre-game intros and timeouts for the next few decades.
2. “Rock” already marks the seventh top 10 hit of Lil Uzi Vert’s career — though it’s their first in three years now. Are you surprised that “Rock” would be the song to return Uzi to the chart’s top tier?
Carl Lamarre: Again, with Uzi, I think you never know what to expect. The unpredictability of their music makes them an enviable threat in rap culture. Sonically, Uzi rarely misses, but you never know if the records will be appreciated commercially the same way it’s received culturally. Thankfully for them, they’ve been able to straddle the lines seamlessly.
Cydney Lee: Not surprised! Given the type of artist Uzi is and the fact that Philly, Jersey and Baltimore club are so similar, them making a Jersey Club song seemed bound to happen. Uzi is no stranger to tying dance moves with their songs also (their little shoulder move and 2020’s “Futsal Shuffle”?) so adding a hip dance to “Just Wanna Rock” was the perfect recipe for TikTok creators to recreate and even add their own moves.
Elias Leight: “Just Wanna Rock” is a ferocious intro, a frenzied ramp-up, the musical equivalent of a violently shaken champagne bottle. But it never fully explodes — it’s a lot of build with little release. Lil Uzi Vert’s music is often deliciously off-kilter, and “Just Wanna Rock” fits the bill.
Jason Lipshutz: I am, simply because Uzi is prolific enough that I would have assumed a new single attached to a major album, or a high-profile guest spot, would have gotten them there first. And maybe “Rock” will lead into a new Uzi full-length to follow 2020’s Eternal Atake, or at least point to where their sound is headed next, but regardless, its success is divorced from any larger project or grand plan. “Rock” is a singular smash, accentuating itself from the rest of Uzi’s discography and becoming one of the more uncompromising top 10 hits of the decade.
Andrew Unterberger: A little, just because Uzi had been trending so far in the wrong direction over the few years leading up to it, and because the song seemed pretty alien and unfamiliar to the current mainstream, even by the artist’s already-extraterrestrial standards. But maybe I just didn’t realize how much Jersey Club had begun to spread nationally, or how much fans were just waiting for the right Uzi song to jump back on board with.
3. When Uzi released Eternal Atake in early 2020, it debuted to blockbuster numbers and mostly rave reviews. After a tumultuous past three years — both commercially and legally — is the strong response to “Rock” an indication to you that Uzi’s next full-length will be similarly greeted as Atake? Or are they unilikely to match that level of pre-pandemic stardom again?
Carl Lamarre: Their new album, which I believe is the Pink Tape, will be greeted with incredible fanfare. Since their 2017 mainstream breakout Luv Is Rage 2, Uzi’s fanbase has grown exponentially, and the demand for their music has since followed suit. If you check out the festival lineups, they’ve ascended to headline status. There’s been pandemonium for them, whether a single or a mixtape. For the younger generation, only Uzi and Playboi Carti can accrue that type of interest and eagerness in new music –because they’ve also mastered the beauty behind the rollout, making every release an event.
Cydney Lee: This might be a toss-up, and I say this because they released an EP Red & White last year, and I don’t remember hearing too much buzz around it. It peaked at No. 23 on the Billboard 200, so obviously people were listening, but “Just Wanna Rock” seems so niche that I’m not sure which way their next full-length will lean.
Elias Leight: Lil Uzi Vert fans are a dedicated bunch. While it may be hard for the rapper to match Eternal Atake‘s 400 million first-week streams, they’ll almost certainly have a big bow with their follow-up and debut at No. 1 (barring a surprise album from someone like Drake).
Jason Lipshutz: I think Uzi’s next project will be even bigger than their last. Although some of its commercial effect got overshadowed by the pandemic shutdown of March 2020, Eternal Atake (including its full-length deluxe edition that followed a week after its release) was a blockbuster, particularly when it came to Uzi’s younger audience (400 million streams in its first week!) — and keep in mind, the album thrived even without a mainstream-courting single, mostly functioning as a showcase for Uzi’s heliocentric flow. If its follow-up includes hits with the chart impact of “Just Wanna Rock,” watch out: we are in for one of the biggest album releases of the year.
Andrew Unterberger: They’re probably closer than I would’ve guessed a few months ago, certainly. I do think it’s worth remembering that it wasn’t just underwhelming song releases that have hurt Uzi’s momentum — they were accused of felony assault in 2021, with some pretty gnarly specifics, to which they ultimately pleaded no contest. But have those headlines really stuck to them, to the point of altering their career trajectory? Maybe not.
4. The clear Jersey Club influence evident in “Just Wanna Rock” has been much discussed as a potential bellwether crossover moment for the dance subgenre. Do you see “Rock” as the start of a larger Jersey Club presence in the mainstream, or do you see it mostly being kept to the underground outside of this hit?
Carl Lamarre: The dance subgenre can swell into something bigger if another notable artist takes a crack at it. Dance enjoyed a splashy moment with Drake and Beyonce dipping their feet in the genre last year, and artists are becoming a bit captivated with what they can deliver on their own accord. With “Rock” and the “Players” remix generating interest on the mainstream level, all it takes is a resounding third hit to shift the paradigm.
Cydney Lee: I think the song is exposing a wider audience to the Jersey Club sound, but I do think its popularity will stay regional. Like NYC drill. In other words, we’ll probably only hear songs like this by artists from the mid-Atlantic region, with maybe a few exceptions (NLE Choppa and 2Rare’s “Do It Again”).
Elias Leight: Rap that nods to Jersey Club has already been seeping into the mainstream. Not surprisingly, the breakneck tempos make it popular for TikTok dance videos, and one of the scene’s rising stars, Newark rapper Bandmanrill, landed a deal with Warner Records last year. (Bandmanrill works frequently with Mcvertt, who co-produced “Just Wanna Rock.”) Philadelphia also has its own variant of this sound, which has helped rapper 2Rare go viral and score collaborations with Lil Durk and NLE Choppa. 2Rare is signed to a joint venture with Warner as well, and he appeared in Drake’s “Sticky” video.
Jason Lipshutz: I’d love a full-on Jersey Club movement in the upper reaches of the Hot 100, but I’m predicting that “Just Wanna Rock” is instead a lone crossover moment. That propulsive sound is simply difficult to translate into a mass-appeal single, and even “Just Wanna Rock” took months until it beguiled enough listeners and grew into a top 10 hit. Happy to be proven wrong, but I doubt we look back on this moment as the start of a major trend.
Andrew Unterberger: Jumping on a Jersey Club trend is perhaps easier said than done, since it requires an adjustment to energy and flow that a lot of rappers might not be inclined (or equipped) to make — though it’s a great fit for an already frenetic, right-brained MC like Uzi. More likely perhaps, we’ll see the trend explode through DJs remixing established hits; lord knows folks can’t seem to get enough of sped-up versions these days, so at least going the Jersey Club route with remixes would allow producers to be a little more creative and specific with their edits while cranking up the BPMs.
5. A climb into the top 10 for “Rock” is impressive, but it’ll be hard for the song to threaten the top five without major radio support — which it seems unlikely to get, as a two-minute and largely structureless song without an obvious format radio base. If you were to commission a new remix to help get it over the top, which special guest would be your first call to be the remix’s featured star?
Carl Lamarre: Playboi Carti. If anyone can fully immerse themselves into the jungle gym of Lil Uzi Vert, it’s their one-time partner in crime. Let’s make it happen and finally get the album we’ve been dying to hear.
Cydney Lee: Coi Leray. She’s from Jersey and has already dabbled in Jersey Club. A Jersey or Philly artist is the only right answer here and I think she has the right energy for a track like this.
Elias Leight: Several radio formats are actually embracing “Just Wanna Rock.” The single has become Lil Uzi Vert’s third most-played track of all time on the airwaves — behind “XO Tour Llif3” and “You Was Right” — according to Mediabase, and it’s currently inside the top 5 on both Mediabase’s Rhythmic chart and its Urban chart. Where “Just Wanna Rock” lags behind other Hot 100 hits right now is pop airplay, a format that isn’t always receptive to rap singles. A remix may not help sway pop radio, but Cardi B had fun last year jumping on tracks like Kay Flock’s “Shake It,” and she’s on the same label as Lil Uzi Vert…
Jason Lipshutz: How about Quavo and Offset? Following the death of Takeoff last year and reports of feuding between the remaining Migos members, a reunion on a “Just Wanna Rock” remix would be major news and a must-listen. Plus, Migos gave Uzi their star-making turn on their No. 1 hit “Bad and Boujee” — time for Uzi to return the favor.
Andrew Unterberger: Too much to hope Dee Snider has a great-nephew or someone who’d be willing to introduce him to Uzi? Even if not, maybe let’s just imagine a cut-up duet with Snider barking those “ROCK!” response vocals. There’s some Billy Ray + Lil Nas cross-generational potential here, certainly.
Ahead of its release, Morgan Wallen’s album One Thing at a Time has already rung up seven top 10 hits on Billboard’s Hot Country Songs chart.
Wallen released a trio of tracks from the set on Jan. 31 and, of those, “Last Night” launches the highest — at No. 7 — on the streaming-, airplay- and sales-based survey (dated Feb. 11).
The album is due March 3 and will sport 36 songs, including nine released so far.
“Last Night” drew 11.8 million U.S. streams and sold 8,000 downloads in the week ending Feb. 2, according to Luminate. It arrives atop Country Digital Song Sales, awarding Wallen his ninth No. 1. It opens at No. 3 on Country Streaming Songs, marking his 19th top 10.
On Hot Country Songs, Wallen banks his 18th top 10. Here’s a rundown of the seven songs, including three No. 1s, already released from One Thing at a Time that have hit the chart’s top 10. All seven have also debuted at their peak ranks:
No. 1 (one week), April 30, 2022, “Don’t Think Jesus”
No. 1 (one week), May 21, 2022, “Thought You Should Know”
No. 1 (19 weeks), May 28, 2022, “You Proof”
No. 2, Dec. 17, 2022, “One Thing at a Time “
No. 5, Dec. 17, 2022, “Tennessee Fan”
No. 7, Dec. 17, 2022, “Days That End in Why”
No. 7, Feb. 11, 2023, “Last Night”
The two other tracks released Jan. 31 from One Thing at a Time, “I Wrote the Book” and “Everything I Love,” start at Nos. 16 and 18, respectively, on Hot Country Songs. “Book” corralled 6.7 million streams and sold 5,000, while “Love” drew 6.3 million clicks and sold 3,000.
Next week’s Feb. 18-dated charts will reflect the first full tracking week (Feb. 3-9) for each of the three tracks released Jan. 31.
Meanwhile, Wallen’s prior LP, the 30-song Dangerous: The Double Album, leads Top Country Albums for a record-extending 93rd week, with 42,000 equivalent album units (up 5%). The set has also generated seven Hot Country Songs top 10s.
Bryan Leads, Debuts
Zach Bryan’s “Something in the Orange” dominates Hot Country Songs for a sixth week. Plus, “Dawns,” his collaboration with Maggie Rogers, debuts at No. 13. Released Jan. 27, the latter drew 10 million streams through Feb. 2.
The pair co-wrote “Dawns,” which marks fellow singer-songwriter Rogers’ first country chart entry. She boasts three No. 1s, among five top 10s, on the Adult Alternative Airplay chart.
Hubbard Dances In
Tyler Hubbard posts his first top 10 as a soloist on Top Country Albums, as his self-titled debut LP starts at No. 8 with 15,000 equivalent album units. He co-penned all 18 songs on the set. Florida Georgia Line – the duo comprising Hubbard and Brian Kelley – has tallied four No. 1 albums among seven top 10s.
The set’s new single, “Dancin’ in the Country,” jumps 30-24 on Country Airplay with a 37% increase to 5.3 million impressions. It also drew 3.8 million streams and ranks at a new No. 26 high on Hot Country Songs. Lead single “5 Foot 9” led Country Airplay and hit No. 5 on Hot Country Songs.
King ‘Get’s Started
Meanwhile, Elle King’s Come Get Your Wife begins at No. 11 on Top Country Albums (13,000 units). She co-penned eight of the 13 songs on the set, which she co-produced with Ross Copperman.
The album’s current single “Worth a Shot,” featuring Dierks Bentley, ranks at No. 45 on both Country Airplay (1.8 million impressions, up 6%) and Hot Country Songs, as it also logged 2.2 million streams (up 14%). First single “Drunk (And I Don’t Wanna Go Home),” with Miranda Lambert, led Country Airplay and reached No. 6 on Hot Country Songs.
The new LP follows King’s Love Stuff and Shake the Spirit, which hit Nos. 3 and 9 on Top Rock & Alternative Albums in 2015 and 2018, respectively.
Lil Yachty’s Let’s Start Here., his foray into the rock world, debuts at No. 1 on Billboard’s Top Rock & Alternative Albums, Top Rock Albums and Top Alternative Albums charts dated Feb. 11.
The set bows with 36,000 equivalent album units earned in the Jan. 27-Feb. 2 tracking week, according to Luminate.
Start is not only Lil Yachty’s first No. 1 on each ranking, it’s his first leading title on any consumption-based Billboard album chart. His previous best, Lil Boat 2, peaked at No. 2 on the Billboard 200, Top R&B/Hip-Hop Albums and Top Rap Albums charts in March 2018.
Speaking of the Billboard 200, Start begins at No. 9 there, marking his third top 10 and first since Lil Boat 2. In between that set and Start, he appeared on the ranking with three entries, paced by the No. 12-peaking Nuthin’ 2 Prove in 2018. He has notched three top 10s on Top R&B/Hip-Hop Albums, in 2017-18, and four on Top Rap Albums, in 2017-20.
Concurrently, cuts from the new 14-track LP dot Billboard’s song surveys, led by “The Black Seminole.,” which debuts at No. 80 on the Billboard Hot 100 powered by 5.4 million official U.S. streams.
“Seminole” also opens at Nos. 5, 7 and 8 on the Hot Alternative Songs, Hot Rock Songs and Hot Rock & Alternative Songs charts.
The entire album infuses Hot Rock & Alternative Songs, with “Seminole” followed next by “Pretty” at No. 14 (3.9 million streams).
“Seminole” also leads the new album’s haul on the Rock Streaming Songs and Alternative Streaming Songs charts.
Miley Cyrus’ “Flowers” (via Columbia) is showing staying power in the U.K., where it’s on track for a fourth consecutive week at No. 1.
“Flowers” leads the midweek chart, and is already Cyrus’ longest-reigning U.K. No. 1, eclipsing “We Can’t Stop” and “Wrecking Ball,” which both spent a single week at the chart summit in 2013.
Also on the Official Chart Update, Miguel’s “Sure Thing” continues to climb, thanks to the viral impact of TikTok. Originally released back in 2010, “Sure Thing” (Jive) is set for its first appearance in the top 5, up 7-5 on the U.K. chart blast.
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Meanwhile, Dutch DJ and EDM producer Tiësto and Canadian singer Tate McRae’s “10:35” (Atlantic/Ministry of Sound) is on the verge of a top 10 breakthrough, lifting 13-9 on the midweek survey.
Also noteworthy is Mimi Webb’s “Red Flags.” which is on the way up following the British singer and songwriter’s appearance on BBC’s The Graham Norton Show. “Red Flags” is set to improve 19-12, a new peak less than a month prior to the release of her debut album, Amelia, on March 3.
Finally, Coi Leray’s catchy “Players” (Uptown/Republic Records) makes a midweek move, up 20-12; while The Kid LAROI’s new single “Love Again” continues to climb. The second taste from the Sydney singer and rapper’s debut album The First Time, “Love Again” (Columbia) looks set to improve 22-17.
All will be revealed when the Official U.K. Singles Chart is published late Friday.
Shania Twain’s Queen Of Me (via EMI) is all set to be crowned on the U.K. albums chart.
The iconic Canadian country star lead the midweek chart with Queen, her sixth studio album and just her second across two decades.
It if holds its course, Queen of Me will become Twain’s third U.K. chart leader following Come On Over (1998) and Now (2017), her last studio album.
According to the Official Charts Company, Raye is “hot on Shania’s heels” with My 21st Century Blues (Human Re Sources), the British singer and songwriter’s debut LP. Blues features the U.K. No. 1 hit “Escapism,” featuring 070 Shake.
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Indie rock trio Young Fathers is on track to complete the podium with Heavy Heavy (Ninja Tune), their fourth studio album. It’s new at No. 3 on the Official Chart Update, for what would be a career-best for the Scots, and an all-new top three.
Based on midweek data, Sam Smith’s Grammy Award-winning fourth album Gloria (Capitol) will be bumped from the summit after one week, tumbling 1-11.
Further down the list, The Waeve look to make a splash with their eponymously titled debut, via Transgressive. Formed by Blur guitarist and singer Graham Coxon and former the Pipettes singer Rose Elinor Dougall, the Waeve’s debut is set to debut at No. 5 on the Official U.K. Chart. As a member of Blur, the OCC reports, Graham has 10 U.K. top 40 albums under his belt. He also contributed to Duran Duran’s Future Past, which opened and peaked at No. 3 in 2021.
Finally, Beyonce is on the bounce following the announcement of a U.K. leg to her Renaissance World Tour. The U.S. superstar singer’s Renaissance (Columbia/Parkwood Ent) album could return to the top 20, at No. 19, following news of her U.K. stadium run, set for in May and June 2023.
All will be revealed when the Official U.K. Albums Chart is revealed late Friday.
All Time Low reaches No. 1 on Billboard’s Alternative Airplay chart for the second time, as “Sleepwalking” rises to the top of the Feb. 11-dated survey.
“Sleepwalking” follows the 18-week reign of the act’s “Monsters,” featuring blackbear, in 2020-21. It stands as the third longest-leading hit in the chart’s 34-year history, alongside Foo Fighters’ “The Pretender” and behind only Portugal. The Man’s “Feel It Still” (20 weeks) and Muse’s “Madness” (19). Its overall 88-week stay is the longest in the chart’s archives.
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In between “Monsters” and “Sleepwalking,” All Time Low earned an additional top five hit with “Once in a Lifetime,” which peaked at No. 5 in 2021.
Concurrently, “Sleepwalking” bullets at its No. 5 high on the all-rock-format, audience-based Rock & Alternative Airplay tally with 3.6 million audience impressions, up 1%, Jan. 27-Feb. 2, according to Luminate.
On the most recently published multimetric Hot Rock & Alternative Songs chart (dated Feb. 4), “Sleepwalking” ranks at No. 48, after reaching No. 45, with 1.1 million official U.S. streams, in addition to its radio audience.
“Sleepwalking” is the lead single from Tell Me I’m Alive, All Time Low’s ninth studio album, due March 17.
Originally released in late 2016 on The Weeknd’s album Starboy, his track “Die for You” rises to No. 1 at last on Billboard’s all-format Radio Songs chart, as well as the mainstream top 40-based Pop Airplay chart (both dated Feb. 11).
The song, on XO/Republic Records, gained by 5% to 85.2 million airplay audience impressions in the Jan. 27-Feb. 2 tracking week, according to Luminate.
As previously reported, the song rebounds to its No. 6 high on the all-genre, multimetric Billboard Hot 100.
The Weeknd adds his fifth Radio Songs No. 1, following “Earned It (Fifty Shades of Grey)” (for four weeks), “Can’t Feel My Face” (seven) and “The Hills” (five), all in 2015, and “Blinding Lights,” which dominated for a record 26 weeks in April-October 2020.
On Pop Airplay, The Weeknd likewise lands his fifth leader, with “Die for You” following “Earned It” (one week), “Can’t Feel My Face” (four weeks), “Blinding Lights” (six) and “Save Your Tears” (four, 2021).
“Die for You” completes the longest journey from a title’s release to its coronation on Radio Songs since the chart began in 1990. It tops the tally over six years after its arrival on Starboy, sparked by a surge of interaction on TikTok in recent months, which led Republic to officially promote it to radio.
Since Starboy, which became The Weeknd’s second of four No. 1 albums on the Billboard 200 chart, where it ruled for five weeks beginning in December 2016, he has tallied four more top 10s: EP My Dear Melancholy, (No. 1 for one week in April 2018); After Hours (No. 1, four weeks, April 2020); best-of collection The Highlights (No. 2, February 2021) and Dawn FM (No. 2, January 2022).
The lattermost set generated the singles “Take My Breath,” which hit No. 8 on Pop Airplay and No. 10 on Radio Songs, and “Sacrifice,” which followed and reached Nos. 13 and 24 on the charts, respectively.
“I think Dawn FM is a great album, but I think the bigger success of ‘Die for You’ as opposed to ‘Take My Breath’ or ‘Sacrifice’ comes down to timing,” says Matt Mony, program director of Pop Airplay reporter WYOY Jackson, Miss. “‘Blinding Lights’ was such a massive record that I think it heavily overshadowed anything from Dawn FM. The Dawn FM singles weren’t weaker than ‘Die for You,’ they just came too early. The audience was not ready for more Weeknd yet, in my opinion. Had the album come out this year, the singles probably would have charted higher.”
Meanwhile, and perhaps also benefiting from breathing room since the release of Dawn FM, The Weeknd is also scaling radio charts with “Creepin’,” with Metro Boomin and 21 Savage. The collab, which reinvents Mario Winans’ No. 2-peaking 2004 Hot 100 hit “I Don’t Wanna Know,” featuring Enya and P. Diddy, pushes 5-3 on Radio Songs (77.2 million, up 15%) and 6-4 on Pop Airplay, while hitting No. 1 on Rhythmic Airplay (where it becomes The Weeknd’s 13th leader, 21 Savage’s fifth and Metro Boomin’s first). It concurrently climbs 4-3 on the Hot 100.
Mony also cites the recent spate of successful song revivals for the current snug fit for “Die for You” on radio. “The last year has been unique for pop music, given the resurgence of so many songs like ‘Die for You,’ Kate Bush’s ‘Running Up That Hill,’ and ‘Bloody Mary’,” he says, pointing to Lady Gaga’s revitalized 2011 track that ranks at its No. 19 Pop Airplay high, up 31% in plays.
Of “Die for You,” Mony muses, adding a song from 2016 was “a little odd to me at first, but certainly no stranger, no pun intended, than adding Kate Bush from 1985. How songs become hits is changing, and I think having older songs get played as currents proves anything can be a hit now. Current hit radio could be one viral TikTok away from playing ‘Believe’ by Cher.”
Miley Cyrus’ “Flowers” remains the biggest song in the world, as it logs a third week at No. 1 on both the Billboard Global 200 and Billboard Global Excl. U.S. charts. The song now claims three of the five biggest worldwide streaming weeks for any title since the Global 200 began in September 2020.
The Billboard Global 200 and Billboard Global Excl. U.S. charts rank songs based on streaming and sales activity culled from more than 200 territories around the world, as compiled by Luminate. The Global 200 is inclusive of worldwide data and the Global Excl. U.S. chart comprises data from territories excluding the U.S.
Chart ranks are based on a weighted formula incorporating official-only streams on both subscription and ad-supported tiers of audio and video music services, as well as download sales, the latter of which reflect purchases from full-service digital music retailers from around the world, with sales from direct-to-consumer (D2C) sites excluded from the charts’ calculations.
‘Flowers’ Has 3 of 5 Biggest Global 200 Streaming Weeks
“Flowers” holds at No. 1 on the Billboard Global 200 with 185.6 million streams (down 15%) and 72,000 sold (down 35%) worldwide in the Jan. 27-Feb. 2 tracking week.
“Flowers” now claims three of the five biggest streaming weeks since the Global 200 started in September 2020.
Biggest Worldwide Streaming Weeks in Global 200 History:289.2 million, “Butter,” BTS, June 5, 2021217.1 million, “Flowers,” Miley Cyrus, Feb. 4, 2023212.1 million, “Pink Venom,” BLACKPINK, Sept. 3, 2022185.6 million, “Flowers,” Miley Cyrus, Feb. 11, 2023179.1 million, “Flowers,” Miley Cyrus, Jan. 28, 2023178.2 million, “Easy on Me,” Adele, Oct. 30, 2021170.8 million, “Permission To Dance,” BTS, July 24, 2021169.8 million, “Butter,” BTS, June 12, 2021152.8 million, “Shut Down,” BLACKPINK, Oct. 1, 2022152.6 million, “Lalisa,” Lisa, Sept. 25, 2021
Cyrus first announced during her Miley’s New Year’s Eve Party NBC special that “Flowers” would be released Jan. 13, which fans noticed doubles as her ex-husband Liam Hemsworth’s birthday. That enticing narrative and interaction on TikTok have helped swell the profile of the song, which introduces Cyrus’ eighth studio album, Endless Summer Vacation, due March 10.
Bizarrap and Shakira’s “Bzrp Music Sessions, Vol. 53” keeps at its No. 2 Global 200 high; SZA’s “Kill Bill” holds at No. 3, after two weeks on top; Sam Smith and Kim Petras’ “Unholy” lifts 5-4, after it notched four weeks at the summit in October; and Rema and Selena Gomez’s “Calm Down” dips 4-5, after reaching No. 3.
‘Flowers’ Also No. 1 for Third Week on Global Excl. U.S.
As on the Global 200, “Flowers” rules the Billboard Global Excl. U.S. chart for a third week, with 142.7 million streams (down 12%) and 35,000 sold (down 23%) outside the U.S. Jan. 27-Feb. 2.
Bizarrap and Shakira’s “Bzrp Music Sessions, Vol. 53” continues at its No. 2 Global Excl. U.S. best; SZA’s “Kill Bill” is steady at No. 3, after reaching No. 2; Rema and Selena Gomez’s “Calm Down” repeats at No. 4, following two weeks at the summit; and Sam Smith and Kim Petras’ “Unholy” rises 7-5, after it dominated for eight weeks beginning in October.
The Billboard Global 200 and Billboard Global Excl. U.S. charts (dated Feb. 11, 2023) will update on Billboard.com tomorrow (Feb. 7). For both charts, the top 100 titles are available to all readers on Billboard.com, while the complete 200-title rankings are visible on Billboard Pro, Billboard‘s subscription-based service. For all chart news, you can follow @billboard and @billboardcharts on both Twitter and Instagram.
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.
Miley Cyrus’ “Flowers” leads the Billboard Hot 100 for a third week, encompassing its entire run on the chart so far, dating to its launch at No. 1. With its continued command, it ties the three-week rule of her prior leader, “Wrecking Ball,” in 2013.
Meanwhile, The Weeknd’s “Die for You,” back up to its No. 6 best on the Hot 100, becomes the most-heard hit on radio, reaching the top of the Radio Songs chart, and Lil Uzi Vert notches his seventh Hot 100 top 10 as “Just Wanna Rock” rises from No. 12 to No. 10.
The Hot 100 blends all-genre U.S. streaming (official audio and official video), radio airplay and sales data. All charts (dated Feb. 11, 2023) will update on Billboard.com tomorrow (Feb. 7). For all chart news, you can follow @billboard and @billboardcharts on both Twitter and Instagram.
“Flowers,” released on Smiley Miley/Columbia Records, drew 56.4 million radio airplay audience impressions (up 38%) and 48 million streams (down 20%) and sold 37,000 (down 43%) Jan. 27-Feb. 2, according to Luminate.
The single spends a third week at No. 1 on both the Streaming Songs and Digital Song Sales charts and blasts 11-6 on Radio Songs, where it becomes Cyrus’ fourth top 10 – and first since “Wrecking Ball” (No. 4 peak, 2013). She first reached the region with “The Climb” (No. 7) and returned with “Party in the U.S.A.” (No. 8), both in 2009.
With “Flowers” having drawn 48 million weekly streams in the latest tracking week, after it posted 59.7 million the week before and 52.6 million the week before that, it’s the first non-holiday song with three consecutive weeks of 40 million streams or more since Olivia Rodrigo’s “Good 4 U” logged four such frames in a row (May 29-June 19, 2021).
“Flowers” likewise links a sales streak not achieved since 2021, as it’s the first song to sell over 30,000 in three consecutive weeks, after moving 65,000 a week ago and 70,000 the week prior to that, since Coldplay and BTS’ “My Universe” sold over 30,000 in each of its first four weeks (Oct. 9-30, 2021).
“Flowers” introduces Cyrus’ eighth studio album, Endless Summer Vacation, due March 10.
SZA’s “Kill Bill” ranks at its No. 2 Hot 100 best for a fourth week, with 48.6 million in radio reach (up 28%), 32.5 million streams (down 5%) and 2,000 sold (down 3%). It tops Hot R&B/Hip-Hop Songs and Hot R&B Songs, which use the same methodology as the Hot 100, for an eighth week each. The track also becomes her first top 10 as a lead artist on Radio Songs (15-10), and her third overall, following her featured roles on Maroon 5’s “What Lovers Do” (No. 5, 2017) and Doja Cat’s “Kiss Me More” (No. 2, 2021).
Metro Boomin, The Weeknd and 21 Savage’s “Creepin’ ” rises to a new No. 3 high on the Hot 100, from No. 4; Taylor Swift’s “Anti-Hero” slips 3-4, after leading for a personal-best eight weeks; and Sam Smith and Kim Petras’ “Unholy” holds at No. 5, after it ruled for a week in October.
The Weeknd’s “Die for You” rebounds to its No. 6 Hot 100 best, from No. 7, as it hits No. 1 on Radio Songs, up 5% to 85.2 million in airplay audience. The track tops Radio Songs over six years after its original release on The Weeknd’s album Starboy, sparked by a surge of interaction on TikTok in recent months, which led Republic Records to officially promote it to radio.
The Weeknd adds his fifth Radio Songs No. 1, following “Earned It (Fifty Shades of Grey)” (for four weeks), “Can’t Feel My Face” (seven) and “The Hills” (five), all in 2015, and “Blinding Lights,” which dominated for a record 26 weeks in April-October 2020.
Starboy previously generated two top-three Radio Songs hits: its title cut (No. 2, 2016) and “I Feel It Coming” (No. 3, 2017), both featuring Daft Punk. (“Die for You” completes the longest journey from a title’s release to its coronation on Radio Songs since the chart began in 1990.)
David Guetta and Bebe Rexha’s “I’m Good (Blue)” descends 6-7 on the Hot 100, after reaching No. 4, as it leads the multi-metric Hot Dance/Electronic Songs chart for a 20th week; Drake and 21 Savage’s “Rich Flex” is steady at No. 8 on the Hot 100, after it reached No. 2, as it tops the multi-metric Hot Rap Songs chart for a 12th week; and Harry Styles’ “As It Was” holds at No. 9 on the Hot 100, following 15 weeks at No. 1 beginning last April, the fourth-longest rule in the chart’s history.
Rounding out the Hot 100’s top tier, Lil Uzi Vert’s “Just Wanna Rock” jumps 12-10 with 28.7 million in airplay audience (up 10%), 15 million streams (up 5%) and 1,400 sold (up 14%).
The rapper lands his seventh Hot 100 top 10 with the stand-alone single, following his featured turn on Migos’ “Bad and Boujee” (three weeks at No. 1, 2017) and his own “XO TOUR Llif3” (No. 7, 2017), “Futsal Shuffle 2020” (No. 5, 2019), “Baby Pluto” (No. 6, 2020), “Lo Mein” (No. 8, 2020) and “Silly Watch” (No. 9, 2020).
Rock on: “Just Wanna Rock” is the first Hot 100 top 10 with “rock” in its title since … well, just last month, when two holiday classics decorated the tier: “Rockin’ Around the Christmas Tree,” by Brenda Lee, and “Jingle Bell Rock,” by Bobby Helms, ranked at their respective Nos. 2 and 3 peaks. One other such song has rolled to the top 10 in the ’20s: DaBaby’s “Rockstar,” featuring Roddy Ricch, reigned for seven weeks beginning June 2020. Not that “Just Wanna Rock” is considered a rock song (having not appeared on any of Billboard’s rock-based charts; it holds at its Nos. 2 and 5 highs on Hot Rap Songs and Hot R&B/Hip-Hop Songs, respectively). The last rock chart hit with “rock” in its title to hit the Hot 100’s top 10? Nickelback’s “Rockstar” smashed its way to No. 6 in 2007.
Again, for all chart news, you can follow @billboard and @billboardcharts on both Twitter and Instagram and all charts (dated Feb. 11), including the Hot 100 in its entirety, will refresh on Billboard.com tomorrow (Feb. 7).
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.
Miley Cyrus’ “Flowers” (Columbia) continues to grow, as it powers to No. 1 in the U.K. for a third consecutive week.
“Flowers” accumulates more than 106,000 chart units during the chart cycle, outpacing its nearest rival, Raye’s “Escapism” (Human Re Sources) featuring 070 Shake, by more than two-to-one.
It’s the most-streamed song of the week in the U.K., with more than 12 million streams, the Official Charts Company reports.
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“Flowers” is already Miley’s longest-reigning No. 1 in the U.K., beating the single-stretch runs for her previous leaders “We Can’t Stop” and “Wrecking Ball,” both from 2013.
After going viral on TikTok, Miguel’s 2010 single “Sure Thing” (Jive) finds new life on the chart, lifting 10-6. That’s a new peak position for “Sure Thing,” and the U.S. artist’s highest ever chart place in the U.K.
This top debut this week belongs to KSI and Oliver Tree with “Voices” (Atlantic), new at No. 11. The collaborative single is KSI’s 18th and Tree’s third U.K. top 40 appearance.
The next-best new entry belongs to Australian singer and rapper The Kid LAROI, whose “Love Again” (Columbia) bows at No. 19, while his hit 2021 collaboration “Stay” with Justin Bieber reenters the top 40 for the first time in just under a year, at No. 37. “Love Again” is the second cut from the Kid’s forthcoming debut album, The First Time, which is set for release later this year
And finally, Pink gains her 37th U.K. top 40 single with “Never Gonna Not Dance Again,” produced by regular collaborators Max Martin and Shellback. It’s up 46-40.
“Never Gonna Not Dance Again” is lifted from the Philadelphia pop superstar’s ninth studio album Trustfall, due out Feb. 17.
