State Champ Radio Chart Beat
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Less than a month into the year, 2023 has already found itself two major new hits. Miley Cyrus’ “Flowers” simultaneously debuts atop the Jan. 28-dated Billboard Global 200, Billboard Global Excl. U.S. and U.S.-based Billboard Hot 100 charts, while Bizarrap & Shakira’s “Bzrp Music Sessions, Vol. 53” scales the top 10 of all three, securing No. 2 ranks on both global tallies.
Meanwhile, the momentum of each new hit has yielded additional chart placements for both superstars’ past smashes on both global charts.
In addition to “Flowers,” Cyrus logs three debuts and one re-entry, stretching back to her ‘00s material. “Party in the U.S.A.” (2009) debuts on Global Excl. U.S. at No. 186, while re-entering the Global 200 at No. 124 (12.3 million streams, up 60%, worldwide Jan. 13-19, according to Luminate). A modern national treasure, it had previously charted for a week apiece in 2021 and 2022 on the back of July 4th boosts.
Further, 2020’s “Midnight Sky” returns to the Global 200 at No. 176 (10.6 million, up 112%). As for new global hits for Cyrus, 2013’s “Wrecking Ball” hits the Global 200 at No. 197 (10.3 million, up 182%), while her featured turn on Mark Ronson’s “Nothing Breaks Like a Heart” (2018) impacts Global Excl. U.S. at No. 165.
Cyrus’ five charting songs average 28% of their streams from the U.S. and 72% from outside, slightly slanted from the 23/77 split among all songs on this week’s global charts. While “Flowers,” “Sky” and “Ball” sit right in the middle of that 28% U.S. share, the patriotic “Party” skews 38% domestic, while Ronson’s U.K. roots help pull the stateside share for “Heart” down to 16%.
As previously reported, “Flowers” launches with 179.1 million streams and 98,000 downloads sold worldwide Jan. 13-19. That’s the biggest weekly streaming total since BLACKPINK’s “Pink Venom” drew 212.1 million clicks in August, and the largest total for a song by a soloist since the charts launched in September 2020, bypassing Adele’s “Easy on Me” (178.4 million).
As for Shakira, “Hips Don’t Lie,” featuring Wyclef Jean, debuts on Global Excl. U.S. at No. 169 and on Global 200 at No. 193 (12.4 million, up 39%). Released in 2006, the song topped the Hot 100 for two weeks that June, ultimately ranking at No. 5 for the year.
Additionally, two 2022 Shakira songs surge: “Te Felicito,” with Rauw Alejandro, re-enters the Global 200 at No. 79 (21.4 million, up 69%), while jumping from No. 139 to No. 55 on Global Excl. U.S., and “Don’t You Worry,” with the Black Eyed Peas and David Guetta, returns to Global Excl. U.S. at No. 150 (10.3 million, up 28%).
More, her 2022 Ozuna collaboration, “Monotonia,” hangs at No. 25 on Global Excl. U.S. and No. 35 on Global 200 (29.8 mililon, up 58%), while 2010’s World Cup anthem “Waka Waka (This Time for Africa),” featuring Freshlyground, is at Nos. 81 and 116 (20.8 million, up 19%), respectively, having already dawn renewed buzz from the ’22 soccer/football tournament.
Far different from Cyrus, Shakira’s tracks average just 13% of their streams from the U.S. and 87% beyond, perhaps a natural split due to Shakira’s Spanish-language lyrics, fellow Latin collaborators and the bulk of her chart history for the Colombian-born star logged on Latin lists. Unsurprisingly, “Hips,” with its international crossover and English-language vocals, bumps to 20% from the U.S., while the others sit between 10-13%.
Welcome to The Contenders, a midweek column that looks at artists aiming for the top of the Billboard charts, and the strategies behind their efforts. This week (for the upcoming charts dated Feb. 4), SZA’s SOS remains in the driver’s seat on the Billboard 200 albums chart, but runs into new albums by country hitmaker HARDY, prolific rapper Trippie Redd and rock revivalists Måneskin.
HARDY, The Mockingbird & The Crow (Big Loud). Few country radio fixtures know as much about how to succeed in an era dominated by hip-hop- and streaming as Michael Wilson Hardy. The genre-blending singer-songwriter has collaborated with countless artists, released several mixtapes, and generally been as prolific as any popular rapper over the past half-decade – while remaining a steady chart presence, with Hot 100 top 40 hits in the past year alongside Breland and Dierks Bentley (“Beers on Me”) and Lainey Wilson (“Wait in the Truck.”)
The latter single can be found on HARDY’s 17-track The Mockingbird & The Crow set, released last Friday (Jan. 27), as part of the album’s country-oriented A-side – with its second half taking on a hard rock bent. The album appears to be selling well digitally, leading the iTunes albums chart for most of the week. If it does claim the Billboard 200’s No. 1 position, it would be the first country album to do so since Dangerous: The Double Album, the blockbuster 2021 chart-topper from Morgan Wallen – who, incidentally, is also featured on Mockingbird’s “Red.”
Trippie Redd, Mansion Musik (1400 Entertainment/10K Projects). One of the great volume shooters of hip-hop’s past five years, Trippie Redd returned from an unusually lengthy two-year album break last week with the 25-track Mansion Musik. The set consists entirely of previously unreleased material, and is predictably loaded with A-list guests, including Future, Lil Baby, Travis Scott, Lil Durk, and even the late Juice WRLD — who appears on “Knight Crawler,” which led Spotify’s most recent New Music Friday playlist. Each of Trippie’s past six full-length projects have reached the Billboard 200’s top five, and Mansion Musik should have a good chance to extend its streak to seven.
Måneskin, Rush (Epic/Sony). Italian fourpiece Måneskin parlayed a Eurovision win into global rock stardom in 2021 – boosted by TikTok-accelerated crossover success for a cover of The Four Seasons’ “Beggin’” and a series of incendiary live performances on U.S. television. About a year and a half later, the band has finally released its English-language debut album Rush, featuring their rock radio hit “Supermodel” and contributions from pop-rock super-writer-producers like Rami Yacoub, Mattman & Robin and Max Martin.
Måneskin are still relatively modest performers among big hitmakers when it comes to U.S. streaming, so their Billboard 200 performance will likely largely be dictated by sales. To that end, the quartet has released a variety of physical variants of Rush, with vinyl, CD and cassette versions, and a box set edition that collects all three formats, along with a poster and 64-page photobook. The group has also made old-fashioned record store promotional appearances during the album’s release week, including New York-area shops Rough Trade NYC and Looney Tunes.
IN THE MIX
Ice Spice, Like…? (10K Projects/Capitol): One of the most buzzed-about new rappers of 2022 arrives with her first EP, named after her “Like..?” mini-catchphrase. The six-track set includes Ice Spice‘s internet-conquering breakout tracks “Munch (Feelin’ U)” and “Bikini Bottom,” as well as the new, Lil Tjay-featuring “Gangsta Boo,” and the currently ascending TikTok favorite “In Ha Mood.”
Crosby, Stills, Nash & Young, Déjà Vu (Atlantic): Following the death of ‘60s rock legend David Crosby, the enduring material he was involved with as part of The Byrds and Crosby, Stills, Nash & Young have naturally surged in sales and streams. The biggest beneficiary so far appears to be CSNY’s 1970 classic Déjà Vu, featuring signature songs like “Teach Your Children,” “Our House” and “Helpless” — though the latter is one of several Déjà Vu tracks not currently available on Spotify, due to songwriter Neil Young’s continued protests of the streaming service.
Drake and 21 Savage stunt on the competition on both Billboard’s R&B/Hip-Hop Airplay and Rhythmic Airplay charts, as their single “Rich Flex” ascends to a dual domination on the charts dated Jan. 28. The new coronations extend Drake’s records as the artist with the most No. 1s on both charts, while 21 Savage earns his second champ on the former and fourth leader on the latter.
On R&B/Hip-Hop Airplay, “Rich Flex” advances from the runner-up rank to lead the chart in its 11th frame. It tops the list with 19.7 million in audience listenership registered in the week ending Jan. 19, a 7% improvement from the week prior, according to Luminate. With the rise, “Rich Flex” became the most-heard song on U.S. monitored R&B and hip-hop radio stations.
The new champ gives Drake his 29th No. 1 on R&B/Hip-Hop Airplay, the most among all artists since the chart began in 1992. 21 Savage, as mentioned, collects his second champ and returns to the summit after a break of just over five years, since his featured turn on Post Malone’s “Rockstar,” a two-week champ in December 2017.
As Drake tacks another title to his record tally, here’s a look at the acts with the most No. 1s on R&B/Hip-Hop Airplay:
29, Drake15, Usher12, Lil Wayne10, Beyoncé9, Chris Brown
On Rhythmic Airplay, “Rich Flex” jumps from No. 3. It enters the top slot after a 26% surge in weekly plays that made it the most-played song on U.S. monitored rhythmic radio stations in the week ending Jan. 19. Here, Drake picks up a record-extending 37th chart-topper. 21 Savage banks a fourth champ, as “Rich Flex” joins the aforementioned “Rockstar” (six weeks in 2017-18), “A Lot” (two weeks, 2019) and “Jimmy Cooks,” another collaboration with Drake (one week, 2022).
Elsewhere, on Rap Airplay, “Rich Flex” repeats at the No. 1 spot to secure a second week in charge. There, it increases its grip on the rank with an 11% gain in weekly audience. The single looks to next capture the Mainstream R&B/Hip-Hop Airplay list, which ranks the most-played tracks on U.S. monitored R&B and hip-hop stations. On that chart, “Rich Flex” ranks at No. 2 for a second straight week and finishes second in a tight race with the current champ, GloRilla and Cardi B’s “Tomorrow 2” collaboration. A repeat showdown, however, would likely favor “Flex” thanks to its positive momentum: It logged a 12% bump in plays in the latest tracking week, while “Tomorrow 2” declined 5%.
Fuerza Regida picks up its third No. 1 on Billboard’s Regional Mexican Albums chart as Sigan Hablando ascends from No. 2 to lead the Jan. 28-dated list. The album’s new win arrives two weeks after it debuted, alongside Pa Que Hablen, in the top 10 on the overall Top Latin Albums chart on Jan. 14.
To claim the top slot on Regional Mexican Albums, Sigan Hablando earned 12,000 equivalent album units in the U.S. in the week ending Jan. 19, a 12% gain from the week prior, according to Luminate. Out of that sum, 11,000 derive from streaming which represents 18.1 million official on-demand U.S. streams of the album’s songs, up 15% from the previous week. The remaining units come from traditional album sales and track-equivalent album units through sales of the album’s songs.
On the Regional Mexican Albums chart, 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.
Two more of the group’s albums also rank in the tally’s top 10, Pa Que Hablen at No. 3 — after its No. 2 debut on Jan. 14 — and Del Barrio Hasta Aquí, Vol. 2 at No. 4, the latter, in its 35th week, peaked at No. 2 in June 2022.
Sigan Hablando becomes the Sinaloa quintet’s third chart topper: Del Barrio Hasta Aquí debuted and led for 18 consecutive weeks in 2019. Meanwhile, Adicto ruled for one week in April 2020.
Elsewhere, Sigan Hablando moves 4-2 on the all-Latin Top Latin Albums ranking, and pushes up on the overall Billboard 200, with a 97-65 lift.
Further, the album houses “Bebe Dame,” with Grupo Frontera, which earned both acts its first No. 1 on the multi-metric Hot Latin Songs chart (Jan. 21). The song is pushed down to No. 2 on the current track though with a gain, displaced by the No. 1 debut of Bizarrap and Shakira’s “Bzrp Music Sessions, Vol. 53.” On Regional Mexican Airplay, one other song from the Sigan Hablando makes progress: “Prefiero Empedarme” jumps 40-30.
Carin León & Grupo Frontera ‘Que Vuelvas’ Leads: Elsewhere on the Regional Mexican realm, Carin León and Grupo Frontera’s “Que Vuelvas” ascends 8-1 on Regional Mexican Airplay with 7.7 million in audience impressions, up 44%, earned in the U.S. during the Jan. 13-19 tracking week.
It’s a first No. 1 for Frontera which scored a No. 2 with “No Se Va” last Dec. León secures his third, following his three-week domination through his featured role in Banda MS’ “Ojos Cerrados.”
Over on the all-genre Latin Airplay list, “Que Vuelvas” reaches its highest peak: No. 6 in its sixth week.
After its synch in HBO’s new series The Last of Us, Depeche Mode’s ‘80s hit “Never Let Me Down Again” blazes to No. 1 on Billboard’s LyricFind U.S. and LyricFind Global charts dated Jan. 28.
The LyricFind Global and LyricFind U.S. charts rank the fastest momentum-gaining tracks in lyric-search queries and usages globally and in the U.S., respectively, provided by LyricFind. The Global chart includes queries from all countries, including the U.S. The company is the world’s leader in licensed lyrics, with data provided by more than 5,000 publishers and utilized by more than 100 services, including Amazon, Pandora, Deezer, Microsoft, SoundHound and iHeartRadio.
“Down” reigns following its appearance in the series premiere of the HBO show (based on the video game of the same name), which premiered Jan. 15.
According to LyricFind, lyric searches and usages for “Down” zoomed 182% globally and 999% in the U.S.
Thanks to the synch, the song also found its way onto Billboard’s Alternative Digital Song Sales and Rock Digital Song Sales charts at Nos. 7 and 18, respectively. In the Jan. 13-19 tracking week, the song earned 1,000 downloads, up 1,199% from a negligible amount the previous period, according to Luminate.
It also saw a significant stream boost: 552,000 official on-demand U.S. streams Jan. 13-19, a 210% gain from Jan. 6-12.
“Down” reached No. 63 on the Billboard Hot 100 in 1988. It can be found on 1987 album Music for the Masses, which peaked at No. 35 on the Billboard 200.
Another December Boxscore report, another triumph for Trans-Siberian Orchestra. Since Billboard launched its monthly touring recap in February 2019, TSO has made a habit of topping each December’s Top Tours chart, cranking up its annual seasonal routing to the max. According to figures reported to Billboard Boxscore, Trans-Siberian Orchestra grossed $50.9 million and sold 691,000 tickets over 71 shows in the 31-day period.
Peaking at four shows per day, TSO employs two ensembles. One travels the eastern half of the U.S. and the other covers the western half, each playing matinee and primetime concerts in some markets.
The band hit a high point on Dec. 23, with two shows at Nationwide Arena in Columbus, Ohio ($1.7 million) and two at Xcel Energy Center in St. Paul, Minn. ($1.9 million), totaling $3.6 million in one day from four concerts. It was one of five days in December that it grossed more than $3 million.
TSO’s entire 2022 haul generated $66.5 million in gross revenues from 914,000 tickets sold – with 77% of that sum coming from December dates alone. That’s the second-highest grossing tour in the band’s history, narrowly missing 2019’s pre-pandemic $66.8 million. Still, this was its biggest December yet, at $50.9 million, eclipsing 2019’s $46.8 million.
In 2021, TSO played 98 shows – equal to 2022’s run – but the Omicron wave slowed ticket sales, dipping to $42 million in December, and $54.6 million for the entire run.
In all, Trans-Siberian Orchestra has grossed $734.1 million and sold 14.1 million tickets over 1,789 shows. The modestly priced (and mostly U.S.-based) family show hovers around the top 20 grossing acts in Boxscore history, but is within the top 10 according to tickets sold, slightly less than Coldplay’s 14.6 million, but moving past Bon Jovi’s 13.3 million.
With its annual trip to the summit, TSO’s third monthly Boxscore win puts the act in rare company. Since the launch of Top Tours in February 2019, only Elton John (six) and Bad Bunny (four) have spent more time at No. 1, while The Rolling Stones match with three months of its own. Considering John and Bad Bunny dominated the previous four months, it hasn’t been since July that an act scored its first Top Tours victory, when Coldplay ruled with $66.7 million.
And while John, the Stones and Coldplay have each disappeared for now, Bad Bunny remains a factor on the December charts, at No. 3 on Top Tours and at No. 1 on Top Boxscores. He crowns the latter chart with his two shows at Estadio BBVA in Monterrey, Mexico. That double-header earned $17.1 million on Dec. 3-4, pushing World’s Hottest Tour to a final gross of $314.1 million.
In December, Billboard named Bad Bunny the top touring act of 2022 based on the combined activity of the spring’s El Ultimo Tour Del Mundo and World’s Hottest Tour, accumulating $373.5 million in the tracking period of Nov. 1, 2021-Oct. 31, 2022. But with additional grosses in November and December, he finished the year with $434.9 million, the biggest calendar-year gross for an artist in Boxscore history.
In between TSO and Bad Bunny, Daddy Yankee finished the year at No. 2 on Top Tours, hitting a new peak after spending October and November at No. 3. His December haul began with three shows at Mexico City’s Foro Sol (after playing two shows at the venue in November) and stretched through a final American run, ending with two shows at Miami’s FTX Arena.
Over 15 shows, he earned $37.5 million, pushing his farewell tour’s total to $197.8 million. That makes it the second-biggest tour by a Spanish-speaking act, following, who else, Bad Bunny and his own fall ’22 tour.
Daddy Yankee follows Bad Bunny, again, by hitting No. 2 on Top Boxscores with those three Foro Sol shows. The entire five-night run grossed $23.6 million, split between $9.8 million on Nov. 29-30, and $13.8 million on Dec. 2-4.
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Among the highest grossing venues of the month, a combination of holiday-themed concerts and sporting events make it the No. 1 on the ranking among venues with a capacity of 15,001+. In most months, the venue atop that chart is also the No. 1 venue among rooms of any size, given the high capacity. But, just as TSO annually shoots to No. 1, December’s crown is virtually reserved for New York’s 5,900-cap Radio City Music Hall.
Home of the Christmas Spectacular starring The Radio City Rockettes, RCMH grossed $76.7 million across 130 shows (averaging more than four performances per day), trampling the arena’s $22 million take. In all, between Nov. 18 and Jan. 2, the Rockettes show brought in $96.9 million and sold 945,000 tickets. If counted as a musical touring act, it would quite easily rule the Top Tours and Top Boxscores charts.
Though not a touring act per se, there are two Jingle Ball appearances on Top Boxscores, another seasonal regular. Of six reported Jingle Ball events, totaling $8.7 million, highlights are New York’s show at Madison Square Garden ($3.5 million; 18,178 tickets) and London’s two-night event at the O2 Arena ($2.5 million; 27,080 tickets).
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Alicia Keys extends her record for the most No. 1s on Billboard’s Adult R&B Airplay chart as “Trillions,” featuring Brent Faiyaz, crowns the chart dated Jan. 28. The single advances from No. 2, and, despite its 1% decrease in weekly plays, it became the most-played song on U.S. monitored adult R&B radio stations in the week ending Jan. 19, according to Luminate.
With her new champ, Alicia Keys improves her career total of Adult R&B Airplay No. 1s to 13. She remains atop the leaderboard for the most No. 1s among all acts since the chart began in 1993. Now, she moves two ahead of her nearest competitor, Toni Braxton, and her 11 leaders. Here’s a look at the artists with the most chart-toppers in Adult R&B Airplay history:
13, Alicia Keys11, Toni Braxton9, Charlie Wilson8, Bruno Mars8, Kem8, Maxwell7, H.E.R.7, Mary J. Blige7, R. Kelly7, Tank
“Big love to my AK fam,” Keys said in an Instagram post celebrating the accomplishment. “Big love to Brent Faiyaz – I told you we were going to get that No. 1!,” the singer-songwriter said.” The R&B legend also noted the feat occurred during her birthday week, as she turned 42 on Jan. 25.
At 22 weeks, “Trillions” ties for Keys’ second-longest trek to the summit among her 13 champs. “Fire We Make,” her duet with Maxwell, also required 22 weeks on its way to a seven-week reign in 2013; they both rank behind “So Done,” featuring Khalid, which reached No. 1 in its 28th week on the chart.
For Brent Faiyaz, his featured turn on “Trillions” yields his first Adult R&B Airplay No. 1 with his debut appearance on the chart.
“Trillions” also marks Keys and Faiyaz’s second charted collaboration; their prior release, “Ghetto Gatsby,” from Faiyaz’s Wasteland album, reached No. 8 on the Hot R&B Songs chart in July 2022. “Trillions” appears on the deluxe edition of Keys’ 2021 album Keys, dubbed Keys II, that dropped in August 2022. (All versions of the Keys album are combined for tracking and charting purposes.)
Elsewhere, “Trillions” climbs to a new peak of No. 17 on the R&B/Hip-Hop Airplay chart, which ranks songs by combined audience listenership from adult R&B and mainstream R&B/hip-hop stations. There, the song climbs again, despite, a 5% drop to 6.7 million in audience.
Welcome to Billboard Pro’s Trending Up column, where we take a closer look at the songs, artists, curiosities and trends that have caught the music industry’s attention. Some have come out of nowhere, others have taken months to catch on, and all of them could become ubiquitous in the blink of a TikTok clip. This week: Miley Cyrus’ runaway 2023 hit leads to gains not only for her whole discography but for a fellow ’10s superstar’s own 2013 smash, Sabrina Carpenter takes the next step towards crossover pop success, and Baby Tate has a TikTok breakout with an old song that interpolates a much older song.
“Flowers” Success Pollenates Miley Cyrus‘ Whole Back Catalog (And One Bruno Mars Hit)
Miley Cyrus‘ “Flowers” is in bloom on the Billboard Hot 100 this week, becoming just the second single in her storied pop career to top the chart, and her first to debut on top. It does so with some of the most spectacular first-full-week numbers of the decade so far: 52.6 million streams, 70,000 digital song sales and 33.5 million radio airplay audience impressions, according to Luminate.
But it’s not just the Columbia-released “Flowers” that’s blossoming this week — Cyrus’ entire back catalog is growing in the sunlight of her new release. Even without accounting for “Flowers,” Cyrus’ discography is up from 20.7 weekly million official on-demand U.S. streams in the tracking week ending Jan. 12 to 34.2 million the following week (ending Jan. 19), a 65% gain.
Read more in our full article on Miley’s streaming boom (and its Bruno Mars spillover) here.
Sabrina Carpenter Nails Down a Breakout Hot 100 Hit
Six months after releasing her Island Records debut Emails I Can’t Send, Sabrina Carpenter has her biggest hit from the pop project. “Nonsense” debuts at No. 75 on this week’s Hot 100 after making a pronounced impact on streaming charts since the beginning of 2023, and its weekly streaming totals are quickly rising.
“Nonsense,” on which Carpenter sings about feeling so flustered around a significant other that she gets tongue-tied, started going viral on TikTok over the past month. Credit goes to a combination of a sped-up version of the rhythmic pop-rock track and a cheeky dance routine set to its second verse (“I’m talkin’ all around the clock / I’m talkin’ hope nobody knocks / I’m talkin’ opposite of soft / I’m talkin’ wild, wild thoughts,” Carpenter sings). The song’s momentum was also helped by a well-choreographed live performance on Jimmy Kimmel Live! that was widely shared by pop fans around social media.
TikTok Cheers Along Baby Tate’s “Mickey” Reinvention
Choreographer-turned-accidental pop star Toni Basil topped the Hot 100 back in 1983 with “Mickey,” a gender-flipped cover of ’70s U.K. glam-rockers Racer’s “Kitty” turned into a cheerleading stomp-along (with help from an unforgettable music video, an early MTV staple). Atlanta rapper-singer Baby Tate introduced another step in the song’s evolution in 2016 with “Hey Mickey,” a bouncy trap banger keyed around a sultrier rendition of the classic “Mickey” hook.
“Hey Mickey” had limited commercial impact upon its release, but is making waves in 2023 thanks to — what else? — the song going viral on TikTok, with hundreds of thousands of videos of users miming along to its refrain, or posting it over various clip montages, with some videos receiving likes in the millions. It’s led to the song also detonating on streaming, with its weekly official on-demand U.S. streams growing from barely over 2,000 in mid-December to over 2.3 million for the week ending Jan. 19. And it’s still climbing — meaning Tate might be coming for Basil’s head “Mickey” cheerleader status soon enough. — ANDREW UNTERBERGER
PartyNextDoor Finds a PartyNineYearsAgo With Viral ‘Her Way’
Earlier this month, PartyNextDoor returned with “Her Old Friends,” a new single that followed the R&B star’s 2022 singles “No Fuss” and “Sex in the Porsche.” Yet none of those recent tracks are burning up streaming services quite like “Her Way,” the slinky cut from his 2014 project PartyNextDoor Two, which has gotten the sped-up TikTok treatment and soared back into the public consciousness.
Over the past month, “Her Way” has increased its weekly U.S. on-demand streaming total by nearly tenfold — 498,000 streams during the week ending Dec. 22, up to 4.93 million streams during the week ending Jan. 19, according to Luminate. PND himself is playing into the revival: days after releasing “Her Old Friends,” the singer-songwriter released an official “Her Way [Sped Up]” version of the track. With more music expected from PartyNextDoor this year, “Her Way” could serve as an unexpected lead-in to a potential new project. – JASON LIPSHUTZ
Official HIGE DANdism’s “Subtitle” makes history on the latest Billboard Japan Hot 100, released Jan. 25, extending its record to 12 weeks at No. 1 (8 of those weeks consecutively) to break the all-time record for longest-leading single on the chart.
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The records for both consecutive and non-consecutive weeks at No. 1 were previously held by Gen Hoshino’s “Koi,” which hit No. 1 seven times consecutively and 11 times in all.
“Subtitle” racked up 12,610,115 streams this week, down from 13,481,602 last week, to rule the metric for the 14th consecutive week. The grand total for the track is currently at 259,611,559 streams. The song is at No. 4 for downloads (7,654 units, down from 8,709) after topping the metric 8 times and totaling 273,438 units to date. It racked up 1,839,544 views (down from 2,044,575) to come in at No. 3 for video views, and while it never hit No. 1 for this metric, it stayed at No. 2 for 9 weeks and currently totals 36,927,130 views.
While “Subtitle” continues to gradually slow down (7.2 percent down in total points from the previous week), it’s still around 2,000 points ahead of the song at No. 2 — “KICK BACK” by Kenshi Yonezu — and it’ll be interesting to see if it can extend its record next week and beyond.
KinKi Kids’ “The Story of Us,” the third single marking the 25th anniversary of the Johnny’s duo’s CD debut, bows at No. 3 on the Japan Hot 100 this week. The track written by the two members launched at No. 1 for physical sales with 178,502 copies sold in its first week, but couldn’t supplement that advantage with other metrics of the chart’s methodology.
back number‘s seventh album Humor, the three-man band’s first studio set in four years, blasted in at No. 1 on Billboard Japan’s Hot Albums chart this week. The song “I Love You” off the set rises 15-7 this week on the Japan Hot 100 after collecting points in streaming and radio airplay. Other songs by the popular band, including past hits such as “Takane no Hanako-san,” also surged in points and a total of eight tracks by the band is charting on the Japan Hot 100 this week.
The Billboard Japan Hot 100 combines physical and digital sales, audio streams, radio airplay, YouTube and GYAO! video views and karaoke data.
See the full Billboard Japan Hot 100 chart, tallying the week from Jan. 16 to Jan. 22, here. For more on Japanese music and charts, visit Billboard Japan’s English Twitter account.
Six months after releasing her Island Records debut Emails I Can’t Send, Sabrina Carpenter has her biggest hit from the pop project. “Nonsense” debuts at No. 75 on this week’s Hot 100 after making a pronounced impact on streaming charts since the beginning of 2023, and its weekly streaming totals are quickly rising.
“Nonsense,” on which Carpenter sings about feeling so flustered around a significant other that she gets tongue-tied, started going viral on TikTok over the past month. Credit goes to a combination of a sped-up version of the rhythmic pop-rock track and a cheeky dance routine set to its second verse (“I’m talkin’ all around the clock / I’m talkin’ hope nobody knocks / I’m talkin’ opposite of soft / I’m talkin’ wild, wild thoughts,” Carpenter sings). The song’s momentum was also helped by a well-choreographed live performance on Jimmy Kimmel Live! that was widely shared by pop fans around social media.
“Nonsense” earned 5.82 million U.S. on-demand streams during the week ending Jan. 19, according to Luminate — a 66% spike from the previous week’s streaming total. As a result, the track has become the first Hot 100 hit off of Emails I Can’t Send, and Carpenter’s second career entry on the chart, following the 2021 single “Skin” (No. 48 peak).
“The success of ‘Nonsense,’ and the album Emails I Can’t Send as a whole, exemplifies Sabrina’s innate ability to write and perform bold pop songs, capturing large audiences alongside viral growth,” says Jackie Winkler, VP of A&R at Island, in a statement to Billboard. “It’s been hugely rewarding to witness this song come to life from the earliest demo form, to the live show, to the mainstream charts, all while solidifying her mark in pop musical culture.”
Emails I Can’t Send became Carpenter’s highest-charting entry on the Billboard 200 album chart in July, as the former Disney Channel star’s first LP in three years debuted at No. 23 on the tally. A North American headline tour in support of the album kicks off on Mar. 16.
Click here to read why Emails I Can’t Send was one of the Billboard staff’s favorite albums of 2022.
