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LE SSERAFIM’s “Fearless” hits No. 1 on this week’s Billboard Japan Hot 100, dated Feb. 1, preventing Official HIGE DANdism’s “Subtitle” from extending its all-time record for weeks at No. 1.
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The six-member girl group’s first single in Japan ruled physical sales with 321,717 copies sold in its first week. In other metrics of the chart’s measurement, the single came in at No. 7 for video views, No. 14 for radio airplay, No. 41 in downloads, and No. 55 in streaming, leading this week’s song chart with 9,376 points overall.
After scoring its 12th week at No. 1 on the Japan Hot 100 last week, Official HIGE DANdism’s “Subtitle” slows down in all metrics besides radio and slips to No. 2 for the first time in nine weeks with 8,687 overall points, down by about 8 percent from the previous week.
This week saw the breakthrough of girl groups on the Japan Hot 100. TWICE’s “Moonlight Sunrise” jumps 20-5, fueled by streaming (No. 5, up 127 percent from last week) and video (No. 2, up 12 percent). Rising five-member K-pop group NewJeans’s “Ditto” also breaks into the top 10 after crawling up the list these past several weeks (12→18→13→12→11→10). The track was powered by streaming, coming in at No. 4 for the metric.
The Billboard Japan Hot 100 combines physical and digital sales, audio streams, radio airplay, YouTube and GYAO! video views and karaoke data.
Check out the full Billboard Japan Hot 100 chart, tallying the week from Jan. 23 to Jan. 29, here. For more on Japanese music and charts, visit Billboard Japan’s English Twitter account.
It’s tough to accept at the time – a single catches fire with the public, flies up the chart and lands just shy of the top spot. Despite peaking at No. 2 on the weekly Billboard Hot 100, many songs that initially take the silver medal still emerge as massive winners in the end.
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Some, including a case just two years ago, sustain enough momentum to leapfrog No. 1 hits to become the year’s top Hot 100 single; others become the springboard for artists to eventually capture that chart-topping hit; and a select few dominate pop culture so much that you’d swear that they, surely, definitely, unquestionably have topped the chart — before the facts reveal otherwise.
While the No. 1s get plenty of shine, let’s take a moment to celebrate another slate of hit singles. For 2/2, here is Billboard’s countdown of the top 50 songs to peak at No. 2 on the Hot 100.
Billboard’s Biggest No. 2 Hits ranking is based on weekly performance on the Hot 100 through Feb. 4, 2023, and includes only songs that peaked at No. 2 on the list. Songs are ranked based on an inverse point system, with weeks at No. 1 earning the greatest value and weeks at lower spots earning the least. Due to changes in chart methodology over the years, eras are weighted differently to account for chart turnover rates during various periods.
50. Linda Ronstadt featuring Aaron Neville, “Don’t Know Much”Weeks at No. 2: twoPeak Date: Dec. 23, 1989Just Behind: Phil Collins, “Another Day in Paradise”
49. Technotronic featuring Felly, “Pump up the Jam”Weeks at No. 2: twoPeak Date: Jan. 20, 1990Just Behind: Michael Bolton, “How Am I Supposed to Live Without You”
48. En Vogue, “Don’t Let Go (Love)”Weeks at No. 2: fourPeak Date: Jan. 18, 1997Just Behind: Toni Braxton, “Un-Break My Heart”
47. Ritchie Valens, “Donna”Weeks at No. 2: twoPeak Date: Feb. 23, 1959Just Behind: Lloyd Price, “Stagger Lee”
46. The Spinners, “The Rubberband Man”Weeks at No. 2: threePeak Date: Dec. 4, 1976Just Behind: Rod Stewart, “Tonight’s The Night (Gonna be Alright)”
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45. Eddie Murphy, “Party All the Time”Weeks at No. 2: threePeak Date: Dec. 28, 1985Just Behind: Lionel Richie, “Say You, Say Me”
44. Silver Convention, “Get up and Boogie (That’s Right)”Weeks at No. 2: threePeak Date: June 12, 1976Just Behind: Wings, “Silly Love Songs”
43. Brenda Lee, “Rockin’ Around the Christmas Tree”Weeks at No. 2: ninePeak Date: Dec. 28, 2019Just Behind: Mariah Carey, “All I Want for Christmas Is You”
42. The Everly Brothers, “Bird Dog”Weeks at No. 2: threePeak Date: Sept. 15, 1958Just Behind: Domenico Modugno, “Nel Blu Dipinto Di Blu (Volare)” and Tommy Edwards, “It’s All in the Game”
41. Lady Gaga, “Bad Romance”Weeks at No. 2: sevenPeak Date: Dec. 5, 2009Just Behind: Jay-Z & Alicia Keys, “Empire State of Mind” and Ke$ha, “TiK ToK”
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40. Ferrante & Teicher, “Exodus”Weeks at No. 2: onePeak Date: Jan. 23, 1961Just Behind: Bert Kaempfert and His Orchestra, “Wonderland by Night”
39. Ace of Base, “All That She Wants”Weeks at No. 2: threePeak Date: Nov. 6, 1993Just Behind: Meat Loaf, “I’d Do Anything for Love (But I Won’t Do That)”
38. Ciara featuring Missy Elliott, “1, 2 Step”Weeks at No. 2: sevenPeak Date: Jan. 8, 2005Just Behind: Mario, “Let Me Love You”
37. Sam Smith, “Stay With Me”Weeks at No. 2: twoPeak Date: Aug. 16, 2014Just Behind: Magic!, “Rude”
36. John Lennon, “Woman”Weeks at No. 2: threePeak Date: March 21, 1981Just Behind: REO Speedwagon, “Keep on Loving You” and Blondie, “Rapture”
35. Céline Dion, “It’s All Coming Back to Me Now”Weeks at No. 2: fivePeak Date: Oct. 26, 1996Just Behind: Los Del Rio, “Macarena (Bayside Boys Mix)” and BLACKstreet featuring Dr. Dre, “No Diggity”
34. Laura Branigan, “Gloria”Weeks at No. 2: threePeak Date: Nov. 27, 1982Just Behind: Lionel Richie, “Truly” and Toni Basil, “Mickey”
33. Donna Lewis, “I Love You Always Forever”Weeks at No. 2: ninePeak Date: Aug. 24, 1996Just Behind: Los Del Rio, “Macarena (Bayside Boys Mix)”
32. Jackson 5, “Dancing Machine”Weeks at No. 2: twoPeak Date: May 18, 1974Just Behind: Ray Stevens, “The Streak”
31. Keith Sweat, “Twisted”Weeks at No. 2: onePeak Date: Aug. 17, 1996Just Behind: Los Del Rio, “Macarena (Bayside Boys Mix)”
30. Deborah Cox, “Nobody’s Supposed to Be Here”Weeks at No. 2: eightPeak Date: Dec. 5, 1998Just Behind: R. Kelly & Céline Dion, “I’m Your Angel” and Brandy, “Have You Ever?”
29. Taylor Swift, “You Belong With Me”Weeks at No. 2: onePeak Date: Aug. 22, 2009Just Behind: The Black Eyed Peas, “I Gotta Feeling”
28. Chubby Checker, “Limbo Rock”Weeks at No. 2: twoPeak Date: Dec. 22, 1962Just Behind: The Tornados, “Telstar”
27. Backstreet Boys, “Quit Playing Games (With My Heart)”Weeks at No. 2: twoPeak Date: Sept. 6, 1997Just Behind: The Notorious B.I.G. featuring Puff Daddy & Mase, “Mo Money Mo Problems” and Mariah Carey, “Honey”
26. Kelly Clarkson, “Since U Been Gone”Weeks at No. 2: onePeak Date: April 9, 2005Just Behind: 50 Cent featuring Olivia, “Candy Shop”
25. Village People, “Y.M.C.A.”Weeks at No. 2: threePeak Date: Feb. 3, 1979Just Behind: Chic, “Le Freak” and Rod Stewart, “Da Ya Think I’m Sexy?”
24. England Dan & John Ford Coley, “I’d Really Love to See You Tonight”Weeks at No. 2: twoPeak Date: Sept. 25, 1976Just Behind: Wild Cherry, “Play That Funky Music”
23. Juice WRLD, “Lucid Dreams”Weeks at No. 2: twoPeak Date: Oct. 6, 2018Just Behind: Maroon 5 featuring Cardi B, “Girls Like You”
22. Taio Cruz, “Dynamite”Weeks at No. 2: threePeak Date: Aug. 21, 2010Just Behind: Eminem featuring Rihanna, “Love the Way You Lie”
21. Bette Midler, “From a Distance”Weeks at No. 2: onePeak Date: Dec. 15, 1990Just Behind: Stevie B, “Because I Love You (The Postman Song)”
20. Marshmello & Bastille, “Happier”Weeks at No. 2: onePeak Date: Feb. 16, 2019Just Behind: Ariana Grande, “7 Rings”
19. Ed Sheeran, “Thinking Out Loud”Weeks at No. 2: eightPeak Date: Jan. 31, 2015Just Behind: Mark Ronson featuring Bruno Mars, “Uptown Funk!”
18. Color Me Badd, “I Wanna Sex You Up”Weeks at No. 2: fourPeak Date: June 8, 1991Just Behind: Extreme, “More Than Words” and Paula Abdul, “Rush Rush”
17. Lady Antebellum, “Need You Now”Weeks at No. 2: twoPeak Date: March 20, 2010Just Behind: Taio Cruz featuring Ludacris, “Break Your Heart” and Rihanna, “Rude Boy”
16. Jim Reeves, “He’ll Have to Go”Weeks at No. 2: threePeak Date: March 7, 1960Just Behind: Percy Faith and His Orchestra, “The Theme from “A Summer Place””
15. Fetty Wap, “Trap Queen”Weeks at No. 2: threePeak Date: May 16, 2015Just Behind: Wiz Khalifa featuring Charlie Puth, “See You Again”
14. Ed Sheeran, “Bad Habits“Weeks at No. 2: twoPeak Date: Aug. 28, 2021Just Behind: The Kid LAROI & Justin Bieber, “Stay”
13. Lifehouse, “Hanging by a Moment”Weeks at No. 2: fourPeak Date: June 16, 2001Just Behind: Christina Aguilera, Lil’ Kim, Mya & P!nk, “Lady Marmalade” and Usher, “U Remind Me”
12. Faith Hill, “Breathe”Weeks at No. 2: fivePeak Date: April 22, 2000Just Behind: Santana featuring The Product G&B, “Maria Maria” and Aaliyah, “Try Again”
11. OneRepublic, “Counting Stars”Weeks at No. 2: twoPeak Date: Jan. 18, 2014Just Behind: Pitbull featuring Ke$ha, “Timber”
10. The Tony Rich Project, “Nobody Knows”Weeks at No. 2: twoPeak Date: March 23, 1996Just Behind: Céline Dion, “Because You Loved Me”
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9. Usher, “You Make Me Wanna…”Weeks at No. 2: sevenPeak Date: Oct. 25, 1997Just Behind: Elton John, “Candle in the Wind 1997 / Something About the Way You Look Tonight”
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8. John Cougar, “Hurts So Good”Weeks at No. 2: fourPeak Date: Aug. 7, 1982Just Behind: Survivor, “Eye of the Tiger”
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7. Foreigner, “Waiting for a Girl Like You”Weeks at No. 2: 10Peak Date: Nov. 28, 1981Just Behind: Olivia Newton-John, “Physical” and Daryl Hall & John Oates, “I Can’t Go for That (No Can Do)”
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6. Shania Twain, “You’re Still the One”Weeks at No. 2: ninePeak Date: May 2, 1998Just Behind: Next, “Too Close” and Brandy & Monica, “The Boy Is Mine”
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5. Tag Team, “Whoomp! (There It Is)”Weeks at No. 2: sevenPeak Date: July 31, 1993Just Behind: UB40, “Can’t Help Falling in Love” and Mariah Carey, “Dreamlover”
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4. Timbaland featuring OneRepublic, “Apologize”Weeks at No. 2: fourPeak Date: Nov. 10, 2007Just Behind: Chris Brown featuring T-Pain, “Kiss Kiss” and Alicia Keys, “No One”
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3. Jewel, “Foolish Games/You Were Meant for Me”Weeks at No. 2: twoPeak Date: April 19, 1997Just Behind: Puff Daddy featuring Mase, “Can’t Nobody Hold Me Down” and The Notorious B.I.G., “Hypnotize”
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2. Dua Lipa, “Levitating”Weeks at No. 2: onePeak Date: May 22, 2021Just Behind: Silk Sonic, “Leave the Door Open”
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1. LeAnn Rimes, “How Do I Live”Weeks at No. 2: fourPeak Date: Dec. 13, 1997Just Behind: Elton John, “Candle in the Wind 1997 / Something About the Way You Look Tonight” and Savage Garden, “Truly Madly Deeply”
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Jimmy Humilde hits No. 1 on Billboard’s Latin Producers chart (dated Feb. 4) for the first time, thanks to nine production credits on the Hot Latin Songs survey.
Leading the charge is Fuerza Regida and Grupo Frontera’s “Bebe Dame,” at No. 2 on Hot Latin Songs. The track, which topped the chart two weeks earlier, tallied 15 million U.S. streams, 2.7 million radio airplay audience impressions and 2,000 downloads sold in the Jan. 20-26 tracking week, according to Luminate.
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Here’s a look at all nine of Humilde’s production credits on this week’s Hot Latin Songs chart:
Rank, Artist Billing, Title (co-producers in addition to Jimmy Humilde):No. 2, Fuerza Regida X Grupo Frontera, “Bebe Dame” (Jesús Ortiz Paz, Edgar Barrera, Miguel Armenta)No. 12, Junior H X Oscar Maydon, “Fin de Semana”No. 21, Fuerza Regida X Edgardo Nuñez, “Billete Grande” (Jesús Ortiz Paz)No. 22, Fuerza Regida X Natanael Cano, “Ch y La Pizza” (Jesús Ortiz Paz)No. 26, Fuerza Regida X Grupo Frontera, “911 (En Vivo)” (Jesús Ortiz Paz, Grupo Frontera, Edgar Barrera)No. 29, Chachito feat. Junior H, “En París”No. 36, Junior H & Gabito Ballesteros, “Vamos Para Arriba”No. 46, Junior H Con Banda, “El Hijo Mayor”No. 49, Oscar Maydon X El Padrinito Toys, “Los Collares”
Humilde succeeds Bizarrap, who hit No. 1 on Latin Producers a week earlier, and now ranks at No. 2. Bizarrap supplanted MAG, Bad Bunny’s go-to producer, who spent 38 weeks at the summit, including every week since the May 21, 2022, ranking, when Bad Bunny’s Un Verano Sin Ti arrived on Billboard‘s charts. Only Tainy has spent more time at No. 1 than MAG, with 119 total weeks.
Humilde is the founder and CEO of regional Mexican label Rancho Humilde, which finished at No. 4 on Billboard’s 2022 year-end Hot Latin Songs Labels recap. The label’s roster includes Natanael Cano, Junior H and Fuerza Regida.
Humilde scored his first production credits on the Hot Latin Songs chart in 2018, via El De La Guitarra’s “A Lo Lejos Me Veran” and “El Monstro 7,” which peaked at Nos. 24 and 38, respectively.
“Bebe Dame” recently brought Humilde his first entry on the Billboard Hot 100 as a producer, when the track debuted on the chart dated Jan. 7 at No. 91; it ranks at No. 32 on the latest list, a week after reaching No. 25.
Over on Billboard’s Latin Songwriters chart, Humilde’s collaborator Edgar Barrera logs a 15th week at No. 1, thanks for four songwriting credits on Hot Latin Songs. Here’s a recap:
Rank, Artist Billing, Title (co-songwriters in addition to Edgar Barrera)No. 2, Fuerza Regida X Grupo Frontera, “Bebe Dame” (Jesús Ortiz Paz, Miguel Armenta)No. 3, Carin Leon X Grupo Frontera, “Que Vuelvas”No. 7, Manuel Turizo, “La Bachata” (Manuel Turizo, Casta, Rios, Juan Diego Medina)No. 26, Fuerza Regida X Grupo Frontera, “911 (En Vivo)” (Horacio Palencia, Nathan Galante, Salvador Hurtado)
Barrera’s 15 weeks at No. 1 mark the third-most in the chart’s history, after only Bad Bunny (95) and Tainy (24).
The weekly Latin Songwriters and Latin Producers charts are based on total points accrued by a songwriter and producer, respectively, for each attributed song that appears on the Hot Latin Songs chart. As with Billboard‘s yearly recaps, multiple writers or producers split points for each song equally (and the dividing of points will lead to occasional ties on rankings).
The full Latin Songwriters and Latin Producers charts, in addition to the full genre rankings, can be found on Billboard.com.
Tiësto takes top Streaming and Sales Gainer honors on Billboard‘s multimetric Hot Dance/Electronic Songs chart (dated Feb. 4) with “10:35,” featuring Tate McRae. The collab climbs from No. 6 to No. 5, returning to its highest rank, following the Jan. 19 release of its Joel Corry remix. The track earned 5.8 million official U.S. streams, up 23%, and sold 1,400 downloads, up 15%, while also drawing 3 million radio airplay audience impressions, up 53%, in the Jan. 20-26 tracking week, according to Luminate.
“10:35,” which debuted at No. 8 on the Nov. 19 tally and has remained in the top 10 since, is Tiësto’s eighth top 10, among 36 career entries (dating to the chart’s 2013 inception). It’s McRae’s second, after “You,” with Regard and Troye Sivan, reigned for eight weeks in June-August 2021.
Concurrently, “10:35” improves on Dance/Electronic Streaming Songs (5-3) and Dance/Electronic Digital Song Sales (5-4). Additionally, “10:35” clocks in at No. 72 on the all-genre Billboard Hot 100, debuting as Tiësto’s seventh song to make the survey and McRae’s sixth.
Continuing with Hot Dance/Electronic Songs, ILLENIUM and Nina Nesbitt notch the list’s highest entrance with “Luv Me a Little,” at No. 11. Now with 46 career entries, ILLENIUM ties Calvin Harris for the sixth-most; David Guetta leads with 73, followed by Kygo (61), Marshmello (54), The Chainsmokers (52) and Martin Garrix (51).
“Luv,” Nesbitt’s first showing on the chart, starts with 1.8 million streams. It’s from ILLENIUM’s self-titled album, due April 28.
Shifting to the Dance/Mix Show Airplay chart, Anabel Englund cruises to her eighth top 10, in as many tries, with “Need Me Right” (11-5). Since she first advanced to the top 10 with “So Hot” (12-7, May 2, 2020; the track ultimately peaked at No. 2), Englund matches Corry and Guetta for the most among all acts. Englund has two No. 1s, “Picture Us” (October 2020) and “Underwater,” with MK (April 2021).
“Need” is scoring core-dance airplay on Music Choice’s Dance/EDM channel, KMVQ-HD2 San Francisco and WZFL (Revolution 93.5, All Things Dance) Miami, among other signals. (The Dance/Mix Show Airplay chart measures radio airplay on a select group of full-time dance stations, along with plays during mix shows on around 70 top 40-formatted reporters.)
Meanwhile, Corry collects his ninth top 10 on Dance/Mix Show Airplay and Tom Grennan grabs his second with “Lionheart (Fearless)” (14-8). The song soars with notable core-dance airplay on SiriusXM’s BPM, Music Choice’s Dance/EDM and KNHC (C89.5) Seattle.
Trippie Redd banks his fourth consecutive No. 1 album on Billboard’s Top Rap Albums chart as Mansion Musik debuts in the top slot of the list dated Feb. 4. The set, released on Jan. 20 via 1400/Ten Thousand Projects/Capitol Records, opens with 56,000 equivalent album units earned in the U.S. in the week ending Jan. 26, according to Luminate.
Of the 56,000 unit start, 50,000 units derive from streaming-equivalent album units, representing 68.1 million official on-demand U.S. streams of the album’s songs. 5,000 of the remaining units are from traditional album sales, and the residual balance of 1,000 units comes from track-equivalent album units. (One unit equals the following levels of consumption: one album sale, 10 individual tracks sold from an album, or 3,750 ad-supported or 1,250 paid/subscription on-demand official audio and video streams for a song on the album.)
Mansion Musik gives Trippie Redd his fifth total champ on the Top Rap Albums chart, and, as mentioned above, marks his fourth leader in a row. Here’s a full recap of all seven of his No. 1s on the chart – all of which have ruled for one week:
A Love Letter to You 3, Nov. 24, 2018
A Love Letter to You 4, Dec. 7, 2019
Pegasus, Nov. 14, 2020
Trip at Knight, Nov. 4, 2021
Mansion Musik, Feb. 4, 2023
In addition to the five chart-toppers, the 23-year-old rapper has three more albums that have made the list: A Love Letter to You 2 reached at No. 14 in October 2017, Life’s a Trip achieved a No. 4 best in August 2018 and ! debuted and peaked in the runner-up spot in August 2019.
Elsewhere, Mansion Musik starts at No. 2 on the Top R&B/Hip-Hop Albums chart, behind only SZA’s blockbuster SOS, and at No. 3 on the all-genre Billboard 200, trailing SOS and Taylor Swift’s Midnights.
As Mansion Musik arrives, four of its songs land on the Hot R&B/Hip-Hop Songs chart. “Knight Crawler,” with Juice WRLD, leads the pack at No. 19 and was the project’s most streamed song of the week. “Crawler” registered 10 million official U.S. streams in the week and launched at No. 4 on the Rap Streaming Songs chart.
After “Crawler,” the next highest placement on Hot R&B/Hip-Hop Songs belongs to “Fully Loaded,” with Future and Lil Baby, which starts at No. 33. The Travis Scott collab “Krzy Train” starts at No. 35, while a second teamup with Lil Baby, “Dark Brotherhood,” enters at No. 46.
Though it’s only January, the third episode of HBO’s post-apocalyptic survival series The Last of Us is already certain to end 2023 as one of the most acclaimed TV episodes of the year. The tearjerking episode, which focused on a decades-spanning love story between two new characters, has been rapturously received in nearly all corners of the media and the internet — and has also led to another streaming success story, this time for Rock and Roll Hall of Famer Linda Ronstadt.
Ronstadt’s devastating ballad “Long, Long Time,” which served as her breakout solo hit on the Billboard Hot 100 when it reached No. 25 in Oct. 1970, is showcased multiple times in the episode. It appears first in renditions by actors Murray Bartlett and Nick Offerman, when they find the sheet music with an old piano owned by Offerman’s character, then as Ronstadt’s original version at the end of the episode, when the show’s main characters (played by Pedro Pascal and Bella Ramsey) find a cassette with the song in a car formerly belonging to Offerman’s character.
Unsurprisingly, the success of the show (and of the episode in particular, also titled “Long, Long Time”) has led to the song taking off in both streaming and sales. From Jan. 28 (the day before the episode) to Jan. 30 (the day after), the song jumped from under 8,000 daily official on-demand U.S. streams to nearly 149,000, and from a negligible number of daily sales to over 1,500 — spikes of 1,776% and 13,782%, respectively, according to Luminate. It’s still a ways from re-charting on the Hot 100, but with its sales and streams still looking to be rising days after the episode’s premiere, it should be in contention for debuts on a couple of Billboard charts next week.
It’s not the first time The Last of Us has resulted in big gains for an older track: After Depeche Mode’s “Never Let Me Down Again” was featured as an ominous radio transmission at the end of the show’s first episode, the song rose 220.5% in daily streams. With “Long, Long Time” now experiencing even greater gains, it seems that The Last of Us is gonna be the show to watch for 2023 when it comes to generating high-profile synch moments with lucrative payoffs for the artists (or writers) involved.
Bizarrap and Shakira’s “Bzrp Music Sessions, Vol. 53” hit No. 1 on Billboard’s Latin Airplay chart (dated Feb. 4). Their in-studio diss track has now topped nine U.S. Billboard charts, including Latin Digital Song Sales, Latin Pop Digital Song Sales, Dance/Electronic Streaming Songs, Dance/Electronic Digital Song Sales, Hot Latin Songs, Latin Streaming Songs, Latin Pop Airplay, Latin Pop Streaming Songs, and now Latin Airplay.
“Bzrp Music Sessions, Vol. 53” advances 5-1 in its second week on Latin Airplay after a strong 35% gain in audience impressions, to 10 million, earned in the week ending Jan. 26, according to Luminate.
The new coronation extends Shakira’s record among women, with 18 No. 1s. Bizarrap clocks his second after “Vol. 52,” with Quevedo, reached the top of the chart last November where it remained for four weeks.
Shakira, meanwhile, replaces herself at No. 1 as “Vol. 53” sends “Monotonía,” with Ozuna, to No. 5, after six weeks in charge, the most since Daddy Yankee’s “Con Calma,” featuring Snow, dominated the tally for eight weeks in 2019. Notably, it’s the first time a woman replaces herself at No. 1 since the chart launched in 1994.
Plus, the last time an act replaced itself at No. 1 on Latin Airplay was Farruko when “Pepas” dethroned his featured turn on Enrique Iglesias’ “Me Pasé” in October 2021.
As mentioned, “Vol. 53” continues its winning streak across Billboard charts. It remains at No. 1 on Dance/Electronic Streaming Songs, Hot Latin Songs, Latin Pop Airplay, and Latin Streaming Songs and Latin Pop Streaming Songs for a second week, while on Latin Digital Song Sales and Latin Pop Digital Song Sales, the track holds atop for a third week.
Over on the all-genre Billboard Hot 100, the track dips 9-13. Further, it holds steady at No. 2 on both Billboard Global 200 and Global Excl. U.S. charts.
Beyoncé released Renaissance, her seventh solo studio album, in July 2022 to rapturous acclaim and No. 1 status on the Billboard 200 and, for lead single “Break My Soul,” No. 1 on the Billboard Hot 100. But unlike 2016’s Lemonade and 2013’s Beyoncé, there were no concerts and no televised performances — not even a music video.
But six months later, days ahead of a potentially pivotal Grammy ceremony (Feb. 5) where she’s the year’s leading nominee, Beyoncé has announced the Renaissance world tour. It’s bound to be one of the year’s biggest concert events, aiming to be her fourth tour to gross more than $200 million based on forecasts estimated by Billboard Boxscore. In fact, the tour could easily sail past the $275 million mark. The all-stadium trek is currently scheduled to play 41 shows in 10 countries from May 10 through September 27.
A Beyoncé tour used to be a given every couple of years, but the Renaissance world tour will launch seven years after her last solo outing, 2016’s The Formation World Tour. That was her first solo trek in stadiums, though neither the show’s stellar reviews nor fans’ insatiable demand hinted at her rookie status. The tour earned $256.1 million and sold 2.2 million tickets, according to figures reported to Billboard Boxscore, finishing atop Billboard’s year-end Top Tours chart.
In the years since, Beyoncé mounted On the Run II, her second stadium tour alongside Jay-Z following 2014’s On the Run. The stadium trek came close to Beyoncé’s solo high mark but finished with $253.5 million and 2.2 million tickets — coming within 1% of Formation’s gross and 3% of its attendance despite the doubled-up star-power. The strength of Beyoncé’s solo tour among her entire live history perhaps speaks to her unique draw as one of the century’s most singular live entertainers.
The Formation World Tour marked a 21% improvement upon the $212 million take of 2013-14’s The Mrs. Carter Show World Tour, which spanned 126 dates in arenas.
This summer’s Renaissance world tour was announced with 15 shows in Europe in May and June, followed by 26 shows in the U.S. and Canada.
That 41-show sum is slightly shorter than The Formation World Tour’s 49 and On the Run II Tour’s 48. But while Renaissance could trail her previous outings in cumulative gross because of a more compact schedule, that scenario is unlikely considering the industry’s plumped-up ticketing.
In efforts to redirect second-and-third-party ticket sales to the artist, dynamic pricing, platinum ticketing and fan-to-fan re-sale have sent grosses soaring in the post-pandemic era. Beyoncé’s 2016 and 2018 tours averaged $114 and $116 per ticket, but that number will likely be far closer to, if not more than, $200 in 2023.
And like with Billboard’s early projections for Taylor Swift and Madonna, Beyoncé’s initial routing announcement may just be the singer playing coy. Per the first announced round of shows, London is the only market with more than one show, while previous Beyoncé tours also doubled up in New York, Chicago, Paris, Houston and more. More dates could be announced in some of the routing’s open spaces due to expectedly high demand. As the routing stands at press time, there are often four or five days between shows, with long stretches between May 30 (London) and June 8 (Barcelona), and September 2 and 11 (Inglewood, Calif. and Vancouver).
The continental splits for Formation and OTR2 were similar to that of Renaissance, with slightly more than a third of the entire tour in Europe and the other 60-65% in North America. Grosses and attendance lined up, too — $86.9 million and 867,000 tickets in Europe on Formation and $87 million and 871,000 tickets on OTR2, versus $169.1 million and 1.4 million tickets in North America on Formation and $166.5 million and 1.3 million on OTR2.
Given her consistent sell-out stadium business and an expected 30%-plus lift on ticket prices, the Renaissance world tour could be earning $6.8-$7.5 million per show. At the low end of that projection, with no additional shows, total gross would be heading for a personal-best $275 million. With just a few extra shows, at the top of that range, she’d notch her first $300 million tour.
Across her career, Beyoncé has grossed $767.3 million and sold 8.9 million tickets across 375 shows, including those with Jay-Z and the Verizon Ladies First Tour, a co-headline run with Missy Elliott and Alicia Keys in 2004. That means that the Renaissance world tour is setting her up to be one of three women to potentially cross the billion-dollar mark this year. Swift’s Eras Tour is sure to push her over the edge, while P!nk’s Summer Carnival Tour could do the trick as well.
Renaissance was Beyoncé’s seventh No. 1 album, while “Break My Soul” marked her eighth No. 1 song. When album cut “Cuff It” shot to No. 10 on the Hot 100 last month, it became the 21st top 10 Hot 100 song of her solo career. The Renaissance world tour is scheduled to kick off May 10 at Stockholm’s Friends Arena and wrap on September 27 at New Orleans’ Caesars Superdome.
Headlines about Tom Brady today are, understandably, focused on his announced retirement, but a song related to the football GOAT makes its own news with a Billboard chart debut.
“Gonna Be You,” by fellow legendary entertainers Dolly Parton, Belinda Carlisle, Cyndi Lauper, Gloria Estefan and Debbie Harry – and written by Diane Warren – enters Billboard’s Digital Song Sales chart (dated Feb. 4) at No. 42 with 2,000 downloads sold from its Jan. 20 release through Jan. 26, according to Luminate.
(The number 42, thus, takes on a more positive tone regarding Brady, after Super Bowl XLII still makes New England Patriots fans wince.)
The song accompanies the movie 80 for Brady, which Brady co-produced and in which he acts. The comedy, whose Los Angeles premiere was held Tuesday, follows four friends – played by acting icons Sally Field, Jane Fonda, Rita Moreno and Lily Tomlin – who travel from Massachusetts to Texas to see the quarterback, then playing for the Patriots, in Super Bowl LI in 2017. (The team’s 34-28 comeback in the game, from a 28-3 deficit, still makes Atlanta Falcons fans wince, although it makes Patriots fans smile.)
“Gonna Be You,” whose official video finds Parton, Carlisle, Lauper and Estefan all sporting Brady’s No. 12 Patriots uniform, marks the latest chart entry for each star. Parton first hit Billboard‘s rankings in 1967 (when “Dumb Blonde” debuted on the Hot Country Songs chart dated that Jan. 21 – six days after the first Super Bowl); Harry, as a member of Blondie, in 1978; Carlisle, with the Go-Go’s, in 1980; Lauper, in 1983; and Estefan, with Miami Sound Machine, in 1984.
Warren, meanwhile, has written nine Billboard Hot 100 No. 1s, among 32 top 10s. Among her catalog of Hot 100 entries are top 40 hits recorded by Carlisle (“I Get Weak,” a No. 2 hit in 1988) and Estefan (“Live for Loving You,” No. 22, 1991). (Warren is currently scaling Adult Contemporary with her first charted title as a credited artist, “Sweet,” with vocals by Jon Batiste and Pentatonix.)
Said Warren ahead of the release of “Gonna Be You,” “Since ’80’ was in the [movie’s] title, I got a crazy idea: Why not get some of the most iconic singers from the ’80s, who are still amazing and always will be, to all sing it?! Everyone I approached said yes and was just as excited as me!”
Blondie boasts four Hot 100 No. 1s, Estefan three, Parton and Lauper two each and Carlisle one, totaling, aptly for Brady, 12.
Singer-songwriter Brandon Lake scores his second No. 1, and first as a lead artist, on Billboard’s streaming-, airplay- and sales-based Hot Christian Songs chart (dated Feb. 4) with “Gratitude.”
The single rebounds for a third week atop Christian Digital Song Sales, up 7% to 2,000 downloads sold Jan. 20-26, according to Luminate. It also drew 1.9 million official U.S streams. On Christian Airplay, the song pushes 13-11 for a new best (4.9 million audience impressions, up 24%).
Lake co-authored “Gratitude” with Dante Bowe and Benjamin Hastings, while Jacob Sooter produced it.
“Every song has a season, and season a song,” Lake tells Billboard. “’Gratitude’ couldn’t more accurately describe everything I want to express to God in this time. There are times where I feel like worshipping and there are times I often don’t, but what can shift any weary soul is a spirit of gratitude. I love that this song not only expresses a heartfelt ‘thank you,’ but commands your soul to wake up and worship. The journey of how this song came to be is a miracle in itself that I’m thankful for.”
Lake previously topped Hot Christian Songs as featured on Elevation Worship’s “Graves Into Gardens,” for two frames in February 2021. It also paced Christian Airplay for a week, awarding Lake his lone leader so far.
Concurrently, Lake charts two additional tracks on Hot Christian Songs. He’s featured on Ryan Ellis’ “Son of David,” at No. 25, and his duet with KB, “Graves,” at No. 44.
Tribbett’s ‘New’ No. 1
On Gospel Airplay, Tye Tribbett notches his fourth No. 1 and third in succession with “New,” which he wrote solely.
The song follows ‘’Anyhow,” which dominated for two weeks in June 2021, and “We Gon’ Be Alright,” which led for a week in September 2020. Tribbett, who hails from Camden, N.J., notched his first leader, among nine top 10s, with “Victory” (with backing group G.A.), which reigned for three weeks beginning in September 2006.
MercyMe Extends Record
MercyMe rolls up its record-padding 19th No. 1 on Billboard’s Christian AC Airplay survey with “Then Christ Came” (up 3% in plays).
The format cornerstone act last led with “Almost Home,” for three frames in April 2020. In between that song and “Then,” the group’s “Say I Won’t” reached No. 3 in May 2021 and “On Our Way,” featuring Sam Wesley, hit No. 9 in February 2022.
MercyMe widens its lead for the most No. 1s since Christian AC Airplay began in 2003 over Jeremy Camp and Casting Crowns, each with 13.
MercyMe banked its first leader with “Word of God Speak,” which dominated for 21 weeks starting in August 2003. It’s the longest-leading No. 1 in the chart’s history, followed by the band’s own “Even If,” which ruled for 19 weeks starting in May 2017.
