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We have our first new Billboard Hot 100 No. 1 of 2025 — and it’s with a song that was already on the chart for 18 weeks in 2024.
With the seasonal glut of holiday songs vacating the chart in this post-Christmas tracking week, Lady Gaga and Bruno Mars‘ “Die With a Smile” jumps from No. 17 to No. 1 on the Hot 100, seizing the top spot for the first time after previously peaking at No. 2 multiple times in 2024. The song gives Gaga her sixth No. 1 on the chart, and Mars (who also ranks at No. 5 this week with the ROSÉ team up “APT.”) his ninth.
How surprised are we that the song finally claimed the top spot after such a long run? And what might be the next leftover 2024 hit to succeed it on top? Billboard staffers discuss these questions and more below.
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1. “Die With a Smile” finally hits No. 1 on the Hot 100 in the first post-holidays week of 2025 after being held to a ceiling of No. 2 on the chart in 2024. On a scale from 1-10, how surprised are you that the song was finally able to get over the top?
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Rania Aniftos: Maybe a 1. With the holiday songs dropping off the charts, and no new hits to claim the top spot, “Die With a Smile” was an easy contender to take over the Hot 100 given how often it plays everywhere, from department stores and restaurants to radio stations and every Spotify playlist.
Katie Atkinson: 8. When “Die” peaked at No. 2 in early December, I was certain that it had fallen victim to the inevitable avalanche of holiday hits coming to the Hot 100 top 10. But at the same time, with its biggest non-Christmas challenger being Shaboozey’s “A Bar Song (Tipsy)” — which had seemingly run its course with a record-typing 19th week atop the chart — the path cleared for the determined duet. I really shouldn’t be that surprised, though: I’ve been championing this song (on the Billboard Pop Shop Podcast and to any friends and family who will listen) since the summer, because while I liked the song when it first came out, I grew to love it even more in the months after, showing just how powerful its appeal was.
Kyle Denis: 4. For “Smile,” it was always a matter of when, not if, it would reach the top spot. Before Kendrick Lamar’s GNX chart bomb and the Mariah Carey-led holiday music takeover, “Smile” logged four straight weeks at No. 2 behind Shaboozey’s “A Bar Song” — and the gap between the two was getting steadily shrinking.
We haven’t gotten a major pop single in 2025 yet (for what it’s worth, neither Lil Baby’s nor Bad Bunny’s albums appear to be launching a breakout hit), and “Smile” was due for a turn at the top. If we look at the most recent Hot 100 top 10: “Birds of A Feather,” “Espresso,” “Lose Control” and “I Had Some Help” are all older than “Smile” and have had their time in the sun, while rising hits like “APT,” “That’s So True” and “Luther” need a bit more time to catch up to “Smile” in terms of chart points.
Jason Lipshutz: A 6. It’s surprising whenever any autumn hit is able to power through the holiday season and come out on top to start the new year, but by November, “Die With a Smile” clearly seemed like the song that could make it happen in early 2025, if any could. Amidst the Mariah, Brenda and Wham!, Bruno and Gaga held strong near the top of the chart in December, setting themselves up to swoop in once the holiday music subsided and scoop up another No. 1 each. Once it was clear that “Die With a Smile” had real legs as a months-long hit, reaching the top of the Hot 100 was always a possibility for the duet.
Andrew Unterberger: An 8. Once it failed to edge out Shaboozey in what ended up being the historic 19th week atop the Hot 100 for “A Bar Song” — and then got buried under the avalanche of Kendrick Lamar debuts and Christmas recurrents — I thought for sure “Smile” had missed its last best chance. But it held strong, nothing else swooped in from the wings, and it gets to be a very nice kickoff to what’s sure to big a big 2025 for both artists.
2. Between Bruno Mars and Lady Gaga, which of the two artists do you think the song means more to?
Rania Aniftos: Gaga! She’s been off the music game for a moment, shifting her focus to her makeup brand and film roles, so the accomplishment probably provides a sense of validation while she’s working on her new album.
Katie Atkinson: Even though it’s a duet, “Die With a Smile” has felt more like a Bruno Mars song (featuring Lady Gaga) to me than an equal billing. But looking at the two stars’ other concurrent releases – ROSÉ’s “APT.” for Mars and Gaga’s “Disease” – “APT.” has had the much stronger start, peaking at No. 5 compared to No. 27 for the LG7 lead single, so it looks like Gaga gets the bigger boost from what feels like a Bruno-led production. (And in fact, Gaga told the Los Angeles Times last month that “Die” will be on LG7, so it obviously means a lot to her: “It’s a huge part of my album. It was like this missing piece.”)
Kyle Denis: Probably Gaga. Between the tepid response to Joker 2, Harlequin and “Disease,” it must feel nice to get a win somewhere this year.
Jason Lipshutz: Gaga, for sure. “Die With a Smile” may announce Mars’ grand return following multiple years without a song released under his own name, but he’s already collected another top 10 hit since its release, with the ROSÉ team-up “APT.” Gaga, meanwhile, launched her next solo era with “Disease,” an electro-pop single that stalled on the Hot 100. Both artists’ respective legacies have long been secure, but from a modern commercial standpoint, “Die With a Smile” extends Gaga’s run as a hitmaker with more gravity than it does for Mars.
Andrew Unterberger: It means more about Bruno Mars, but it means more to Lady Gaga.
3. Gaga’s releases the past six months have been a little all over the place, between the big country-coded rock balladry of “Smile,” the traditional pop vocal project Harlequin and the Classic Gaga sound of “Disease.” Do you think “Smile” likely tells us anything about where she’s going next, or are the differing sounds of her two subsequent releases a sign that it was more of a one-off?
Rania Aniftos: I’m actually pretty confused with how different her releases have been lately. “Die With a Smile” feels like it could fit in her Joanne era, which makes me think that it won’t be indicative of her upcoming album. “Disease” is more in line with what I picture for her. Pop and visually and sonically creative with a dark edge. Maybe the older, more angsty sister of The Fame Monster.
Katie Atkinson: I think what likely started as a one-off will end up influencing what Gaga does next more than even she expected. If “Disease” was the original first impression from LG7, it seems that “Die” is the more lasting one, as far as pop fans are concerned. It remains to be seen whether we’ll hear that album in February, as was originally said in a Vogue interview, or whether some extra tinkering might have been done to weave her hit duet into the fabric of her next album.
Kyle Denis: I think we probably need to take all these releases as a collective indicator of what’s sure to be a sonically adventurous project. In a Q&A before the screening of her Gaga Chromatica Ball tour, Gaga said that her new music is “nothing like anything that I’ve ever made before. I love to break genre and I love to explore music. There’s something really beautiful about knowing that you will be loved no matter what you do.”
If “Hold My Hand” (her 2022 Oscar-nominated Top Gun: Maverick power ballad), “Sweet Sounds of Heaven” (her 2023 Rolling Stones collab), “Smile” and the electroclash influences of “Disease” are anything to go by, I’m expecting LG8 to be the most rock-oriented Gaga album yet.
Jason Lipshutz: It’s the million-dollar question: will the next Gaga album sound closer to “Disease,” which the superstar hinted at when releasing the lead single, or will it be sonically re-shuffled now that “Die With a Smile” — which will indeed appear on its track list, per Gaga — has become an unexpected smash? I’d guess that we land somewhere in the middle, with the next project veering away from the Chromatica electro-pop sound to some extent but still serving as a suitable home for a song like “Disease.” Maybe that makes the album a little less cohesive than expected, but with a few more chances taken — usually a good thing for Gaga.
Andrew Unterberger: I dunno. It’s impossible to triangulate these three Gaga releases and their wildly varying levels of commercial success and determine coherent musical project that could result from all of it. We’re really just gonna have to wait and see on this one.
4. While “Die With a Smile” hits No. 1, Mars’ other big collab of late 2024, the ROSÉ teamup “APT.,” also reaches the top five for the first time. Which of the two songs do you think will ultimately be the more significant or defining hit of this Bruno mini-era?
Rania Aniftos: Another tough question, because they’re so different and both collaborations felt so natural to him as an artist. With how much love the K-pop fans have shown Bruno thanks to “APT.,” I could see him having fun with more team-ups within that genre. He’s also so deeply funny, and fans love seeing him lean into his playful side, as we saw when Silk Sonic swept the Grammys and the rest of pop culture in 2023.
Katie Atkinson: It has to be “Die With a Smile” because, again, it feels more like a Bruno song to me, whereas the spotlight is firmly on the arrival of ROSÉ with “APT.” Mars has offered up a veteran boost to the promising BLACKPINK breakout star, but he’s playing in her sandbox with that one, while “Die” is a patented ultra-romantic Mars moment.
Kyle Denis: I’m inclined to say “APT” because it pushes Bruno in a more interesting sonic direction than “Smile” and helps him be a part of history: ROSÉ is now the first female K-pop soloist to reach the Hot 100’s top 10 and top five. When all is said and done, however, my money is on “Smile” being the bigger hit by the numbers.
Jason Lipshutz: “Die With a Smile” is the bigger hit across metrics, but do not underestimate the significance of the first Hot 100 top 10 hit from any member of BLACKPINK, a multi-lingual global smash that helped unlock a new listenership to a member of one of the biggest K-pop groups in history. Maybe “Die With a Smile” becomes a new-school karaoke standard, school-dance jam and radio mainstay, but I believe “APT.” will ultimately have the bigger cultural footprint.
Andrew Unterberger: It’s a little hard for me to imagine “Die With a Smile” ultimately being a particularly significant song to the career or legacy of either Lady Gaga or Bruno Mars, but obviously “APT.” is a major moment in the career of ROSÉ — and, depending on how things go from here, could potentially also end up being a pretty significant turning point for all of top 40. For that reason I feel like “APT.” is apt to be the better-remembered of the two songs in general.
5. Which song that has been active on the Hot 100 in 2024 but not yet reached the top spot do you think has the best shot of following “Smile” to No. 1?
Rania Aniftos: Justice for “APT.”! I know it took a while for some music lovers to warm up to the sound, but you can’t deny it’s one of the catchiest songs of the last six months. Additionally, I’d love to see Rosé get a No. 1 spot as a solo artist.
Katie Atkinson: My heart says that “APT.” has the juice to work its way to No. 1, but I’m also seeing that Gracie Abrams’ biggest hit yet “That’s So True” doesn’t have a music video to this point. If she could create a buzzy enough video moment (I’m imagining her movie-star boyfriend Paul Mescal playing a role, à la Sabrina Carpenter enlisting then-partner Barry Keoghan for her first Hot 100 No. 1, “Please Please Please”), she could definitely take advantage of a sleepy January.
Kyle Denis: Provided she pulls off yet another Grammy sweep, Billie could finally take “Birds” to No. 1. Kendrick Lamar could achieve something similar with “Luther” — or another GNX cut – following his own potential Grammy sweep, his Super Bowl halftime show, or both. Given their familiarity, I’d give either of those two songs the edge over “APT.” and “That’s So True.” I also have my eye on Lola Young’s “Messy,” which is a bit further down the chart at No. 25.
Jason Lipshutz: Gracie Abrams’ “That’s So True” ended 2024 with a ton of momentum, becoming the singer-songwriter’s first top 10 hit in the same month that she helped Taylor Swift close out the Eras tour and made her Saturday Night Live debut. We’ll see how much more juice the song has over the next few weeks, but “That’s So True” could very easily keep climbing from its peak and challenge for No. 1.
Andrew Unterberger: To me, it’s a question of which radio embraces more between “APT.” and “That’s So True.” Given that one of the two performers on the former is perhaps the most consistent pop radio force of the last 15 years, my money’s on that one.
In its 20th week on Billboard’s Streaming Songs chart, Lady Gaga and Bruno Mars’ “Die With a Smile” hits No. 1 for the first time, soaring 25-1 on the Jan. 11-dated tally.
“Die With a Smile” earned 27.1 million official U.S. streams in the week ending Jan. 2, up 11%, according to Luminate. The song’s precipitous positional gain on the chart comes after the close of the 2024 holiday season, with seasonal tunes falling off the ranking; the entire top 24 of the Jan. 4-dated list were such songs.
The song’s 20-week climb to No. 1 is the sixth longest since the chart began in 2013 and the lengthiest since Taylor Swift’s “Cruel Summer” reigned in 2023 after 27 weeks. Brenda Lee’s “Rockin’ Around the Christmas Tree” holds the all-time record at 43 weeks ending in 2023.
It’s the second No. 1 for Lady Gaga on Streaming Songs. Her previous, “Dope,” reigned for a week in November 2013.
Between “Dope” and “Die With a Smile,” Lady Gaga’s best rank had been the No. 2 debut and peak of “Rain On Me,” with Ariana Grande, in 2020.
As for Bruno Mars, “Die With a Smile” marks his third leader, following the 12-week rule of Mark Ronson’s “Uptown Funk!,” on which he’s featured, in 2015, and then his Cardi B collaboration “Finesse” in 2018.
Between “Finesse” and “Die With a Smile,” Mars rose as high as No. 2 three times, via fellow Cardi B collaboration “Please Me” in 2019, Silk Sonic’s “Smokin Out the Window” in 2021 and his Rose duet “APT.” in 2024.
Though the Jan. 11 chart marks the first week at No. 1 for “Die With a Smile,” it’s not the song’s biggest streaming week; that came on the Sept. 7-dated Billboard charts, its second week of release, when it accrued 30.8 million streams. It is, however, the song’s best week since the Sept. 14, 2014, survey, toward which it earned 27.2 million streams.
Concurrently, as previously reported, “Die With a Smile” reaches No. 1 on the multimetric Billboard Hot 100 for the first time, also concluding a 20-week wait.
Lady Gaga is having an excellent start to 2025, with the pop star’s Bruno Mars duet “Die With a Smile” reaching No. 1 on the Billboard Hot 100 this week — something she thanked fans for in a heartfelt TikTok posted Tuesday (Jan. 7). Holding up her camera so that she could speak directly to […]
ROSÉ and Bruno Mars’ “APT.” tops the Billboard Global 200 and Billboard Global Excl. U.S. charts for a milestone 10th week apiece. In November, the song debuted as the stars’ second leader on each list.
Plus, as seasonal songs have been boxed up and brought back up to the attic, a host of year-round hits return to the top 10 on each ranking, while one reaches the region for the first time: Lola Young’s “Messy.”
The Global 200 and Global Excl. U.S. charts, which began in September 2020, 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 United States.
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.
“APT.” rules the Global 200, rebounding 5-1, with 144.8 million streams (up 3% week-over-week) and 19,000 sold (up 11%) worldwide Dec. 27, 2024-Jan. 2, 2025. The track is the fifth to top the Global 200 for double-digit weeks, joining Mariah Carey’s “All I Want for Christmas Is You” (19 weeks, since December 2020; it falls from No. 1 to No. 27 on the latest list), Harry Styles’ “As It Was” (15 weeks, 2022), Miley Cyrus’ “Flowers” (13 weeks, 2023) and The Kid LAROI and Justin Bieber’s “Stay” (11 weeks, 2021).
Lady Gaga and Mars’ “Die With a Smile” jumps 10-2 on the Global 200, following eight weeks at No. 1 beginning in September. It drew 130.1 million streams (up 3%) worldwide in the latest tracking frame and has tallied over 100 million streams globally in each of the last 18 weeks, the longest such streak since the chart began.
Billie Eilish’s “Birds of a Feather” wings 20-3 on the Global 200, after three weeks at No. 1 beginning in August; Gracie Abrams’ “That’s So True” roars 21-4, returning to its high; and Sabrina Carpenter’s “Espresso” reheats 40-5, after three weeks at No. 1 beginning last June.
Plus, Lola Young’s “Messy” blasts 56-8 on the Global 200 with 36.1 million streams (up 20%) and 6,000 sold (up 36%) worldwide. It’s the Londoner’s first top 10, after she charted as featured on Tyler, The Creator’s “Like Him” (No. 37 peak in November).
“What I’m realizing about myself as an artist is that I’m not about the glitz and the glam – I don’t scream ‘Hollywood’,” Young recently told Billboard. “For a long time, I wanted to represent this ideal of Westernized beauty – but then I realized I’m not that. I now choose to give realness and truth. I’ve got a bit of a belly out, I f—ing swear a bunch and I have fun. And that’s what people are resonating with.”
“APT.” concurrently crowns Global Excl. U.S. (3-1) with 125.7 million streams (up 1%) and 12,000 sold (up 6%) outside the U.S. Dec. 27-Jan. 2. It becomes the fourth song to dominate for 10 or more weeks, joining Carey’s “All I Want for Christmas Is You” (14 weeks) and Cyrus’ “Flowers” and Styles’ “As It Was” (13 each).
The top five ranks on Global Excl. U.S. mirror that of the Global 200, as “Die With a Smile” climbs 6-2, following eight weeks at No. 1 starting in September; Eilish’s “Birds of a Feather” soars 17-3, after three weeks at No. 1 beginning in August; Abrams’ “That’s So True” surges 22-4, revisiting its high; and Carpenter’s “Espresso” climbs 27-5, after eight weeks at No. 1 beginning last May.
Also as on the Global 200, Young’s “Messy” vaults to No. 8 (from No. 48), becoming her first top 10, with 23.8 million streams (up 19%) and 3,000 sold (up 30%) outside the U.S.
The Billboard Global 200 and Billboard Global Excl. U.S. charts (dated Jan. 11, 2025) will update on Billboard.com tomorrow, Jan. 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 X, formerly known as 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.
Lady Gaga and Bruno Mars’ “Die With a Smile” rises to No. 1 on the Billboard Hot 100. The ballad becomes Gaga’s sixth Hot 100 leader and Mars’ ninth.
The song soars from No. 17 on the Hot 100, after initially peaking at No. 2 for four weeks in November. All titles in the top 10 return to the region, a week after holiday songs decorated the top 10, and top 16 spots, for the first time. The chart’s latest data tracking week reflects Dec. 27, 2024, through Jan. 2, 2025, as consumption for Yuletide tracks annually plunges after Christmas.
“Die With a Smile” debuted at No. 3 on the Hot 100 in late August. As it leads in its 20th week on the chart, it wraps the lengthiest trip to the top since Teddy Swims’ “Lose Control” took 32 weeks to hit No. 1 last March.
Highlighting her hitmaking longevity, Gaga joins select company in having earned multiple Hot 100 No. 1s in three distinct decades, as she adds her second leader of 2020s, following two each in the ‘10s and ‘00s. Previously, only Janet Jackson (‘00s, 1990s, ‘80s) and Michael Jackson (‘90s, ‘80s, ’70s) achieved the feat.
Mars likewise lands his second Hot 100 leader this decade, after “Leave the Door Open,” billed as by Silk Sonic (Bruno Mars & Anderson .Paak), hit No. 1 in 2021.
Plus, ROSÉ and Mars’ “APT.” soars 34-5 on the Hot 100, surpassing its prior No. 8 peak, set upon its November debut. The song became BLACKPINK member ROSÉ’s first top 10 as a soloist, as she made history as the first female artist prominent in K-pop (Korean pop) to hit the top 10. She now, therefore, becomes the first such artist to reach the top five.
The Hot 100 blends all-genre U.S. streaming (official audio and official video), radio airplay and sales data, the lattermost metric reflecting purchases of physical singles and digital tracks from full-service digital music retailers; digital singles sales from direct-to-consumer (D2C) sites are excluded from chart calculations. All charts (dated Jan. 11, 2025) will update on Billboard.com tomorrow (Jan. 7). For all chart news, you can follow @billboard and @billboardcharts on both X, formerly known as 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.
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The holiday season may be over, but the hits are just heating up on the ARIA Singles Chart.
As Christmas tracks retreat from their seasonal dominance, Rosé and Bruno Mars have reclaimed the crown with their smash hit “APT.,” catapulting from No. 8 back to No. 1 for an impressive eighth non-consecutive week on top. With holiday tunes swept off the charts, it’s time for pop’s biggest stars to shine again.
Gracie Abrams’ “That’s So True,” a former No. 1, leaps from No. 9 to No. 2, while Lady Gaga and Bruno Mars’ duet “Die With A Smile” ascends to No. 3 from No. 16. The track previously peaked at No. 2.
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Other notable singles include Billie Eilish’s “Birds of a Feather,” which jumps from No. 19 to No. 4 after topping the chart for two weeks in August, and Shaboozey’s “A Bar Song (Tipsy),” climbing from No. 18 to No. 5. The latter spent five weeks at No. 1 during July and August.
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Sydney indie-pop duo Royel Otis debut at No. 47 with “Linger (SiriusXM Session),” a fresh take on The Cranberries’ 1994 hit “Linger.”
The Cranberries’ original version became the band’s breakthrough single in the U.S., peaking at No. 8 on the Billboard Hot 100 in May 1994 and stayed on the charts for 24 weeks. It remains one of their most iconic tracks, blending alternative rock with orchestral elements and highlighting Dolores O’Riordan’s ethereal vocals. Royel Otis’ 2024 album Pratts & Pain earned two ARIA Awards last November.
On the ARIA Albums Chart, Sabrina Carpenter’s Short n’ Sweet continues to dominate, securing its eighth non-consecutive week at No. 1. The album’s standout tracks “Espresso” and “Taste” return to the top 10, climbing to No. 8 and No. 10 respectively.
Ed Sheeran’s greatest hits compilation +–=÷× (Tour Collection) rises from No. 12 to No. 6, spurred by the release of a limited-edition vinyl. The album, which peaked at No. 4 in October, showcases six of Ed’s Australian No. 1 singles, including “Shape of You” and “Bad Habits.”
SZA’s SOS secures a 12th nonconsecutive week atop the Billboard 200 albums chart (dated Jan. 11), continuing to profit from its deluxe reissue on Dec. 20 with 15 additional tracks. The set surged 15-1 on the Jan. 4 chart, following the reissue (dubbed SOS Deluxe: LANA). The set was originally released on Dec. 9, 2022, as a 23-track album and spent 10 weeks at No. 1 in late 2022 and early 2023. All versions of the album, old and new, are combined for tracking and charting.
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SOS earned 130,000 equivalent album units in the U.S. in the week ending Jan. 2 (down 27%), according to Luminate.
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The Billboard 200 chart ranks the most popular albums of the week in the U.S. based on multi-metric consumption as measured in equivalent album units, compiled by Luminate. Units comprise album sales, track equivalent albums (TEA) and streaming equivalent albums (SEA). Each unit equals one album sale, or 10 individual tracks sold from an album, or 3,750 ad-supported or 1,250 paid/subscription on-demand official audio and video streams generated by songs from an album. The new Jan. 11, 2025-dated chart will be posted in full on Billboard‘s website on Tuesday (Jan. 7). For all chart news, follow @billboard and @billboardcharts on both X, formerly known as Twitter and Instagram.
Of SOS’ 130,000 equivalent album units earned in the week ending Jan. 2, SEA units comprise 125,500 (down 25%, equaling 166.31 million on-demand official streams of the set’s songs; it holds at No. 1 on the Top Streaming Albums chart), traditional album sales comprise 4,000 (down 59%, falling 23-36 on Top Album Sales) and TEA units comprise 500 (down 63%).
With a 12th total week at No. 1 on the Billboard 200, SOS has the most weeks atop the chart for an R&B/hip-hop album by a woman, or an R&B album by a woman, since Whitney Houston’s self-titled set tallied 14 weeks at No. 1 in 1986. (Honorable mention to the Houston-led soundtrack to The Bodyguard, which logged 20 nonconsecutive weeks at No. 1 in 1992-93. The 12-track album has six songs by Houston and six songs by other artists.)
The last R&B/hip-hop album with at least 12 weeks atop the Billboard 200 was Drake’s Views, which notched 13 nonconsecutive weeks at No. 1 in 2016 (May 21-Oct. 8). The last R&B album with at least 12 weeks at No. 1 on the Billboard 200 was The Bodyguard, with its 20-week reign. (R&B/hip-hop and R&B albums are defined as those that have hit or are eligible for Billboard’s Top R&B/Hip-Hop Albums and Top R&B Albums charts, respectively.)
As we move farther away from Christmas (Dec. 25), and with the chart’s latest tracking week covering the Dec. 27, 2024-Jan. 2, 2025 frame, no holiday albums dot the entire top 100 of the 200-title deep chart. A week ago, six of the top 10, and 32 of the top 100, were holiday efforts. In turn, on the latest chart, nonseasonal sets race up the list — many with week-over-week declines in activity — as the chart shakes off the festive last bits of merriment.
Kendrick Lamar’s former No. 1 GNX climbs 5-2 (70,000 equivalent album units earned; down 9%), Sabrina Carpenter’s chart-topping Short n’ Sweet jumps 12-3 (56,000; down 7%), the Wicked film soundtrack flies 8-4 (49,000; down 31%) and Billie Eilish’s Hit Me Hard and Soft vaults 14-5 (46,000; down 16%).
Taylor Swift’s former leader The Tortured Poets Department moves 7-6 (44,000 equivalent album units; down 40%) and Chappell Roan’s The Rise and Fall of a Midwest Princess rises 16-7 (41,000; down 20%).
To close out the top 10 at Nos. 8-10, three titles that were outside the top 20 a week ago all rush back to the top 10. Morgan Wallen’s chart-topping One Thing at a Time jumps 29-8 (nearly 41,000; up 10%), Gracie Abrams’ The Secret of Us bounces 25-9 (40,000; up 2%) and Tyler, The Creator’s former No. 1 CHROMAKOPIA drives 27-10 (38,000; down less than 1%).
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.
Wayne Osmond, the second-oldest of the legendary Osmonds, died on Jan. 1. He was 73 years old.
Wayne, one of nine Osmond siblings, started a barbershop quartet in 1958 alongside his brothers Alan, Merrill and Jay. After getting discovered from a Disneyland performance, the boys were cast over a seven-year period on NBC’s The Andy Williams Show beginning in 1962. When brothers Jimmy and Donny joined the group, they became known as the Osmonds and were standout teen idols throughout the ‘70s.
The Osmonds formed in their hometown of Ogden, Utah. Their mother, Olive, reflected on their origin, born of their Mormon faith, in a 1976 interview, as recounted in Fred Bronson’s The Billboard Book of Number One Hits. “The church encourages talent, beginning with such things as singing, sports and speeches when the children are small,” she mused. “That’s how the four boys started singing together.”
The Osmonds charted four top 10s, among 10 top 40 hits, on the Billboard Hot 100, including the 1971 No. 1 “One Bad Apple.” Alan and Merrill Osmond co-wrote “Down by the Lazy River” (No. 4, 1972), the group’s biggest self-penned hit. The act achieved its top-charting album on the Billboard 200 with Phase-III, which reached No. 10 in 1972. The Osmonds tallied 13 titles on the tally through 2008.
Following 13 Hot 100 hits in 1971-76, the Osmonds disbanded in the summer of 1980. They reformed in 1982, minus Donny, and logged 11 entries on the Hot Country Songs chart, through 1986, led by their introductory hit at the format, the top 20-peaking “I Think About Your Lovin’.”
Amid the Osmonds’ chart dominance as a group, Donny scored solo success, earning five Hot 100 top 10s in 1971-73, including the three-week No. 1 “Go Away Little Girl,” which led seven months after “One Bad Apple.” After a 13-year-break from the chart, he returned and marched to No. 2 in 1989 with “Soldier of Love.”
Plus, Donny and sister Marie Osmond notched seven Hot 100 hits in 1974-78, including two top 10s. Marie forged her own successful career in country, running up four Hot Country Songs No. 1s in 1973-86.
On Jan. 2, Donny shared a heartfelt tribute on X, writing, “Wayne brought so much light, laughter and love to everyone who knew him, especially me. He was the ultimate optimist and was loved by everyone. I’m sure I speak on behalf of every one of us siblings when I state that we were fortunate to have Wayne as a brother.”
Below, browse the Osmonds’ 10 biggest career hits as a group on the Hot 100.
The Osmonds’ Biggest Billboard Hits chart is based on actual performance on the weekly Hot 100 chart from its Aug. 4, 1958, inception, through Jan. 4, 2025. Songs are ranked based on an inverse point system, with weeks at No. 1 earning the greatest value and weeks at No. 100 earning the least. Due to changes in chart methodology over the years, eras are weighted to account for different chart turnover rates over various periods.
“Goin’ Home”
Three Days Grace notches its 18th No. 1 on Billboard’s Mainstream Rock Airplay chart – and its first featuring vocals from original frontman Adam Gontier since “Misery Loves My Company” in 2013 – as “Mayday” lifts two spots to the top of the Jan. 11-dated tally.
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The band moves to within one spot of the all-time No. 1 record on Mainstream Rock Airplay, which began in 1981, behind only Shinedown’s 19 leaders.
Most No. 1s, Mainstream Rock Airplay:
Trending on Billboard
19, Shinedown
18, Three Days Grace
15, Five Finger Death Punch
14, Foo Fighters
14, Metallica
13, Godsmack
13, Van Halen
12, Disturbed
11, Linkin Park
Of Three Days Grace’s 18 Mainstream Rock Airplay No. 1s, 11 have been with Gontier, the group’s original lead singer, beginning with “Just Like You” in 2004. Following his departure in 2013, succeeding frontman Matt Walst racked up six rulers as the band’s sole vocalist, starting in 2014 with “Painkiller.”
“Mayday” is the first single since Gontier rejoined the band, with the singers trading vocals.
Meanwhile, “Mayday” rules in its sixth week on Mainstream Rock Airplay, completing Three Days Grace’s swiftest rise to No. 1 since “Chalk Outline” wrapped a four-week sprint in 2012.
Concurrently, “Mayday” ascends 37-36 on Alternative Airplay, marking the band’s highest charted entry since “The High Road,” which peaked at No. 24 in 2013. On the all-rock-format, audience-based Rock & Alternative Airplay chart, “Mayday” leaps 6-2 with 3.9 million audience impressions, up 6%, in the week ending Jan. 2, according to Luminate. That’s the band’s highest spot in the standings since “The Good Life” was No. 1 for six weeks in 2010.
On the most recently published multimetric Hot Hard Rock Songs list (dated Jan. 4, reflecting data tracked Dec. 20-26, 2024), “Mayday” ranked at No. 4, after debuting at its No. 2 best on the Dec. 7-dated survey. In addition to its radio airplay, the song earned 871,000 official U.S. streams.
“Mayday” is currently a standalone single, with Three Days Grace recording its eighth studio album and first since 2022’s Explosions. The new set will mark Gontier’s first with the band since 2012’s Transit of Venus.
All Billboard charts dated Jan. 11 will update on Billboard.com Tuesday, Jan. 7.
Gracie Abrams‘ “That’s So True” has returned to the top spot on the U.K.’s Official Singles Chart for a sixth non-consecutive week. Following a three-week stint at No. 1 for Wham!‘s 1984 classic “Last Christmas” over the festive period, Abrams’ single returns to the top for 2025’s opening week (Jan. 3). “That’s So True” first […]