State Champ Radio Chart Beat
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OneRepublic‘s “I Ain’t Worried,” from the Top Gun: Maverick soundtrack, ascends to No. 1 on Billboard‘s Adult Pop Airplay chart (dated Nov. 5).
The song marks the Ryan Tedder-fronted group’s fourth leader on the list and first since “Counting Stars” spent seven weeks at No. 1 in 2013-14. Before that, the act reigned with “Good Life,” for four weeks in 2011, and as featured on its first entry, Timbaland’s “Apologize,” which ruled for six weeks in 2008.
In August, “I Ain’t Worried” became OneRepublic’s 12th Adult Pop Airplay top 10. In between the song and “Counting Stars,” the group reached the top 10 with “Lose Somebody,” with Kygo (No. 8, 2020); “Connection” (No. 9, 2018); “I Lived” (No. 10, 2015); and “Love Runs Out” (No. 4, 2014).
Meanwhile, Tedder adds his 11th Adult Pop Airplay No. 1 as a co-writer. In addition to OneRepublic’s four leaders, he’s topped the chart as a co-author of: Lil Nas X’s “Thats What I Want” (2022); Jonas Brothers’ “Sucker” (2019); Maroon 5’s “Maps” (2014) and “Love Somebody” (2013); Gavin DeGraw’s “Not Over You” (2012); Kelly Clarkson’s “Already Gone” (2009-10); and Leona Lewis’ “Bleeding Love” (2008).
On the all-genre, multi-metric Billboard Hot 100, “I Ain’t Worried” has so far reached No. 6, marking OneRepublic’s fourth top 10 and first since “Counting Stars” in 2014.
“I Ain’t Worried” is the second hit from the Top Gun: Maverick soundtrack. The set’s “Hold My Hand” by Lady Gaga rose to No. 12 on Adult Pop Airplay in July.
Both Bizarrap and Quevedo can check off a new career milestone as “Bzrp Music Sessions, Vol. 52” hits No. 1 on Billboard’s Latin Airplay chart (dated Nov. 5) — the first No. 1 for both acts. The new achievement lands after their team-up led both, the Billboard Global 200 chart (six weeks) and the Global Excl. U.S. chart (four weeks) starting the July 30-dated rankings.
“Bzrp Music Sessions, Vol. 52” advances to the top slot in its seventh week on Latin Airplay thanks to an 8% gain, to 9 million, earned in the U.S. in the week ending Oct. 30, according to Luminate.
With the move, Bizarrap and Quevedo join four other acts who have notched their first champ through their first showing on the list in 2022. Here are this year’s new winners:
Artist, Title, Accompanied Artists, Peak DateVictor Cárdenas, “El Incomprendido,” with Farruko & DJ Adoni, Jan. 29DJ Adoni, El Incomprendido,” with Farruko & Victor Cárdenas, Jan. 29Lisa, “SG,” with DJ Snake, Ozuna & Megan Thee Stallion, April 2Megan Thee Stallion, “SG,” with DJ Snake, Ozuna & Lisa, April 2Bizarrap, “Bzrp Music Sessions, Vol. 52,” with QuevedoQuevedo, “Bzrp Music Sessions, Vol. 52,” with Bizarrap
The collaboration between Argentinian Bizarrap and the Spaniard Quevedo outs another pairing, Romeo Santos and Justin Timberlake’s “Sin Fin,” after its one-week command.
Meanwhile “Vol. 52” leads Latin Rhythm Airplay for a second week.
Elsewhere, “Vol. 52” steps 12-11 on the multi-metric Hot Latin Songs chart despite a decline in both streams and sales. The song dips 5 in U.S. streams with 4.1 million logged in the week ending Oct. 27. It also falls 7% in downloads sold in the same period.
The Bocelli family, Debbie Gibson, Crowder and Thomas Rhett all continue to ring in the holiday season, leading a parade of debuts on Billboard’s Top Holiday Albums chart (dated Nov. 5).
A Family Christmas by Andrea Bocelli and his children Matteo and Virginia Bocelli enters Top Holiday Albums at No. 2 with 6,000 equivalent album units earned in the U.S. in the week ending Oct. 27, according to Luminate. Andrea Bocelli spent eight weeks atop the chart in the 2009-10 holiday season with My Christmas. While Virginia Bocelli makes her Billboard chart arrival with the new set, Matteo logged 14 weeks at No. 1 in 2018-19 on the Classical Digital Song Sales chart with “Fall on Me,” with his father.
The list’s second-highest debut of the week belongs to Gibson’s first seasonal collection, Winterlicious, at No. 17. Says the pop singer-songwriter, “I put a lot of thought into making a universal album inclusive of non-denominational songs, Christmas songs and even an original Hanukkah song, which highlights the strength and devotion of the Jewish community.”
The set also includes duets “with my two favorite Joes: Daddy Joe [Gibson’s father] on ‘White Christmas’ and Joey McIntyre on ‘Heartbreak Holiday.’ “
Gibson, who broke through with her hit debut single, “Only in My Dreams,” and album, Out of the Blue, in 1987, muses, “Getting the call to say I’ve charted in Billboard never gets old.”
Also bowing on the latest Top Holiday Albums tally: Crowder’s Milk & Cookies: A Merry Crowder Christmas (No. 21); Rhett’s Merry Christmas, Y’all (No. 22); XTC frontman Andy Partridge’s My Failed Christmas Career, Volume One (No. 26); and Joss Stone’s Merry Christmas, Love (No. 26).
Meanwhile, the soundtrack to Tim Burton’s A Nightmare Before Christmas returns to the top of the tally for its 13th week at No. 1. It earned 9,000 units, up 23%, in the tracking week.
The Top Holiday Albums chart ranks the 50 most popular seasonal albums of the week in the U.S. based on multi-metric consumption as measured in equivalent album units. Units comprise album sales, track equivalent albums (TEA) and streaming equivalent albums (SEA). Each unit equals one album sales, 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. For all chart news, follow @billboard and @billboardcharts on both Twitter and Instagram. The seasonal Top Holiday Albums returned for another festive season with the Oct. 22-dated list and will continue as part of Billboard’s weekly chart menu until it dashes away in January 2023.
Rihanna’s Catalog Gets ‘Lift’ed With Comeback
Just one week after Taylor Swift’s Midnights was released to historic impact, we got an even longer-anticipated return from a global pop icon: Rihanna, who released her first new single in six years with the Def Jam-released Black Panther: Wakanda Forever ballad “Lift Me Up.” The song debuted with nearly eight million official on-demand U.S. streams and 16,000 in sales on Oct. 28, and racked up another 6.9 million streams and 11,000 sales over the next two days, all according to Luminate. Those numbers should portend a major Billboard Hot 100 debut for the single, though how deep it can strike into the Swift stronghold atop the chart currently remains to be seen. (A strong radio showing should also help: “Lift Me Up” registered 26.3 million in radio audience on pop, adult, rhythmic and R&B/hip-hop stations combined in its first three days (Oct. 28-30), 10 million better than even Swift’s Hot 100-topping “Anti-Hero” over the same period the prior week.)
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In the meantime, “Lift” has also raised the rest of Rihanna’s catalog, with her non-”Lift” streams bubbling up from 5.8 million last Monday (Oct. 24) to 6.8 million that Thursday as anticipation for the new song grew – then spiking another 24% to 8.4 million on Friday, after the song’s release. Gains for those songs – along with a Halloween-themed hike for her spooky smash “Disturbia” – should result in an increased presence for the Bad Gal on next week’s Billboard 200 albums chart, including a likely gain for 2016’s ANTI (No. 122 this week) and a possible re-entry from 2007’s Good Girl Gone Bad. – ANDREW UNTERBERGER
Meghan Trainor’s New ‘Look’ Is Beguiling Listeners
With all the big pop names making splashes the last couple weeks, you might have missed that Meghan Trainor has enjoyed solid returns as well. As her new album on Epic Takin’ It Back debuts at No. 16 on the Billboard 200, giving the pop singer-songwriter her best showing since 2016’s Thank You started at No. 3, recent single “Made You Look” also becomes her first solo Hot 100 entry in four years as it starts at No. 95. Trainor is no stranger to the Hot 100 — her debut single “All About That Bass” topped the chart in 2014 — but “Made You Look” could become her biggest hit in a half-decade, thanks in part to a body-positive trend that is gaining traction on TikTok.
Upon the album’s release on Oct. 21, Trainor launched a dance challenge for the call-and-response doo-wop hook that highlights natural beauty regardless of style. Yet some TikTok users have gone viral for cleverly deploying “Made You Look” to soundtrack a rejection of the male gaze and society’s sexualization of female bodies. No matter which trend they’re encountering, listeners are responding to “Made You Look,” with its daily U.S. on-demand streams crossing the 1 million mark for three straight days beginning last Friday (Oct. 28), according to Luminate. Keep an eye on how top 40 radio, which was key in breaking Trainor with “Bass” eight years ago, adopts her latest offering: “Made You Look” is currently bubbling under Pop Airplay and Adult Pop Airplay, with 266,000 in audience in its first three days. – JASON LIPSHUTZ
Get Down “Ton1ght” With Exøtix, j4m and Ludves
With the way TikTok trends have evolved toward addressing more serious issues, it almost feels like a refreshing throwback when a fun song unexpectedly gets popular on the back of a simple dance challenge. That’s basically what happened with rappers Exøtix and j4m’s haunting jam “Ton1ght,” with the song’s remix (featuring additional vocals from singer Luvdes) taking off on TikTok thanks to a series of videos of users doing a tricky and fast-paced footwork dance to it. The song, originally self-released via DistroKid on ExøtixWørld in October, racked up 615,000 on-demand U.S. streams on the week ending Oct. 27, a 664% gain, according to Luminate, topping Spotify’s Viral 50 – USA chart and making it feel like 2020 all over again – the more enjoyable parts, anyway. – AU
I Prevail hits No. 1 on Billboard‘s Mainstream Rock Airplay chart for the second time, as “Bad Things” tops the Nov. 5-dated survey.
The song follows the two-week ruler “Hurricane,” the Michigan band’s first leader, in March 2020.
In between “Hurricane” and “Bad,” the band notched an additional Mainstream Rock Airplay entry, the Delaney Jane-featuring “Every Time You Leave,” which reached No. 3 in November 2020.
I Prevail first hit Mainstream Rock Airplay in 2015 with its amped-up cover of Taylor Swift‘s “Blank Space,” and boasts five top 10s to date.
Concurrently, “Bad” lifts 11-10 on the all-rock-format, audience-based Rock & Alternative Airplay chart with 2.3 million audience impressions, up 6%, according to Luminate. It’s the band’s first top 10, having exceeded the No. 13 peak of “Hurricane.” In addition to its mainstream rock radio support, the song is receiving airplay on select alternative stations.
“Bad” also jumps 10-7 on the multi-metric Hot Hard Rock Songs list, after reaching No. 5 in September. Along with its radio airplay, the song earned 818,000 official U.S. streams in the Oct. 21-27 tracking week.
True Power, from which “Bad” is the lead single, debuted at No. 3 on Billboard‘s Top Hard Rock Albums chart dated Sept. 3 and has earned 53,000 equivalent album units since its release.
The anti-hero of the Nov. 5-dated Billboard charts, Taylor Swift tallies 20 debuts on the Billboard Global 200 and Billboard Global Excl. U.S. Every song from the expanded, “3am Edition” version of her new album Midnights launches in the top 40 of the former and the top half of the latter, led by “Anti-Hero” at No. 1 on both rankings.
The 20 songs on the set – which soars in at No. 1 on the U.S.-based Billboard 200 albums chart with the biggest week (by equivalent album units) in seven years – collectively drew 1.16 billion official streams and sold 211,000 downloads worldwide in the week ending Oct. 27, according to Luminate. That’s the biggest global streaming figure for an album this year, passing Bad Bunny’s 1.06 billion clicks in the week ending May 12 upon the arrival of Un Verano Sin Ti.
The 13 titles on the standard edition of Midnights garnered 973 million global streams, accounting for 84% of the set’s overall streaming figure despite equaling 65% of the total track listing. Standard-version tracks averaged 75 million clicks, compared to 26 million for “3am Edition”-only tracks. (The original version of Midnights arrived at midnight ET Oct. 21, followed by the “3am Edition” at, when else, 3 a.m.)
While standard Midnights songs scored nearly three times the global streams as their deluxe counterparts, the opposite was true in the sales market. The seven extra songs sold a combined 138,000 downloads worldwide, while the 13 standard songs amassed 73,000 (as many consumers likely purchased the set’s original version as a whole and upgraded to buying the seven bonus cuts à la carte, activity also reflected on the U.S.-based Digital Song Sales chart).
Meanwhile, Sam Smith and Kim Petras’ “Unholy,” the No. 1 song on both global charts the previous four weeks, falls to No. 6 on the Global 200, acting as the only interruption to Midnights’ near-total takeover atop the tally, as the 13 standard-edition tracks are Nos. 1-5 and 7-14. The seven additional songs rank at Nos. 21-22, 24, 30-31, 35 and 37, giving Swift half the chart’s top 40 songs.
Swift has accumulated 94 entries on the Global 200, leading all acts, over Lil Baby (69), Drake (61), Lil Durk (55) and Bad Bunny (52), since the survey started in September 2020. She also owns the record on Global Excl. U.S. with 75 entries, besting Bad Bunny and Drake at 52 apiece.
Official HIGE DANdism’s “Subtitle” holds at No. 1 on the Billboard Japan Hot 100, dated Nov. 2, marking the highest weekly streams of 2022 in Japan.
The theme of the highly acclaimed drama series silent racked up 20,781,069 streams this week — up by 14.7 percent from the week before — and stayed at No. 1 for streaming for the third straight week. The track is the first to log more than 20 million weekly streams this year, and is also now the record-holder for second biggest week of all time in terms of streaming, following BTS’s “Butter” that scored 29,935,364 streams on the chart released June 2, 2021.
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“Subtitle” also performed well in other metrics — No. 2 for video views, No. 6 for downloads, No. 6 for radio airplay — and increased its total points from last week to stay at the top of the Japan Hot 100.
Kenshi Yonezu’s “KICK BACK” also holds at No. 2 this week. The official music video accompanying the Chainsaw Man opener dropped during the chart week. Yonezu’s collaborator on the track, King Gnu’s Daiki Tsuneta, made a cameo on the mind-bending visuals that racked up 4,113,998 views to come in at No. 1 for the metric. The song comes in at No. 2 for streaming, No. 4 for downloads, No. 3 for Twitter mentions, and No. 8 for radio.
Hinatazaka46’s “Tsuki to Hoshi ga Odoru Midnight” rises 62-3 on the Japan Hot 100. The girl group’s eighth single sold 459,613 copies in its first week — a slight decrease from its previous single “Bokunanka” (478,142 copies) — to rule sales and look-ups this week, but lacked luster in the other metrics: No. 19 for downloads, No. 8 for Twitter, and No. 46 for radio.
Travis Japan‘s “JUST DANCE!” debuts at No. 4. The group drew attention for becoming the first Johnny’s boy band to debut worldwide on streaming platforms and the track was downloaded 66,078 times during the three days counting towards this chart week (No. 1). It also ranked No. 1 for Twitter, No. 36 for video, and No. 38 for radio. How the song performs with seven full days to count is something to look out for on next week’s chart.
The Billboard Japan Hot 100 combines physical and digital sales, audio streams, radio airplay, Twitter mentions, YouTube and GYAO! video views, Gracenote look-ups and karaoke data.
For the full Billboard Japan Hot 100 chart, tallying the week from Oct. 24 to 30, see here.
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 Billboard 200 albums chart dated Nov. 12): Taylor Swift’s record-setting Midnights enters its second frame, facing competition from rap star Kodak Black, rising country singer-songwriter Lainey Wilson, and a quartet of up-and-comers from Liverpool.
The Beatles, Revolver: Special Edition (Apple)
It was No. 1 for six weeks in September and October 1966, and 56 years later it could top the Billboard 200 again. The Beatles’ Revolver, widely regarded as one of the greatest rock albums of all time, was reissued on Oct. 28 in a new Special Edition, centered around a stereo remix of the album from Giles Martin (son of original Revolver producer George Martin) and Sam Okell.
The set comes in a variety of different packages: a five-CD (or four-LP plus one 7-inch vinyl) super deluxe version featuring dozens of bonus demos and sessions, a two-CD/LP deluxe version with 15 bonus “Revolver Sessions Highlights,” and a one-CD/LP version with just the original remixed album. (All versions of the album, old and new, are combined for tracking and charting purposes.) The Beatles have already released ambitious box sets dedicated to Sgt. Pepper’s Lonely Hearts Club Band, The Beatles (The White Album), Abbey Road and Let It Be — all of which returned to the Billboard 200’s top 10.
Kodak Black, Kutthroat Bill, Vol. 1 (Atlantic)
Billboard reported last week that hip-hop star Kodak Black will head to Capitol Records when his current deal with Atlantic is through — but he still owes the latter label two albums. The first of them dropped Friday: Kutthroat Bill, Vol. 1, the Florida rapper’s second 2022 release, following February’s Back for Everything.
Kodak is familiar with the Billboard 200’s top spot, as his 2018 album Dying to Live reigned for one week, while Back for Everything debuted at No. 2 behind the Encanto soundtrack. Kutthroat doesn’t have a crossover single as massive as those sets’ “ZEZE” and “Super Gremlin,” respectively — both of which reached the Billboard Hot 100‘s top five — but it does have a streaming-friendly 19 tracks, and a recent Hot 100 debut with the woozy advance single “Walk.”
Lainey Wilson, Bell Bottom Country (BBR)
“Lainey Wilson is the next superstar for the format,” proclaimed Charlie Cook, vp Country Format at Cumulus, to Billboard in September. Wilson will show how close she’s gotten to fulfilling that prediction with the release of Bell Bottom Country, her second album since signing to BBR. The set — which like her previous release is produced by Jay Joyce — is preceded by two hit Wilson duets from earlier this year: “Never Say Never” with Cole Swindell (a Country Airplay No. 1) and “Wait in the Truck” with HARDY. Neither cut appears on Bell Bottom Country, but her own “Heart Like a Truck” does — hitting a new peak of No. 23 on Country Airplay this week — as does a cover of ’90s rockers 4 Non Blondes’ karaoke classic “What’s Up?”
IN THE MIX
Baby Keem, The Melodic Blue (pgLang/Columbia): Reigning best new artist Grammy winner Baby Keem’s debut album has been on the Billboard 200 since it debuted at No. 5 in Sept. 2021, sitting at No. 105 on the current week’s chart. Expect it to climb higher next week, thanks to a deluxe reissue with seven new bonus tracks, including guest spots from streaming fixtures Don Toliver, PinkPantheress and Lil Uzi Vert.
The Grateful Dead, Dave’s Picks Vol. 44 (Rhino): The legendary jam band is a regular on the Billboard 200 with the Dave’s Picks series, which features live shows selected by Grateful Dead archivist David Lemieux. The most recent set, July’s Vol. 43, was the highest-charting on the Billboard 200 to date, reaching No. 11; if Vol. 44 makes the chart’s top 10, it would be the first Dead album to score that high since In the Dark hit No. 6 in 1987.
Smino, Luv 4 Rent (Zero Fatigue/Motown): The acclaimed R&B singer-songwriter’s third album is also his first since announcing the new partnership between his indie/collective Zero Fatigue and the iconic Motown label. The 15-track set includes collaborations with R&B sensations Lucky Daye and Ravyn Lanae, as well as rap superstars J. Cole and (again) Lil Uzi Vert.
Michael Jackson, Thriller (Epic): The best-selling original album in pop music history remains a Billboard 200 fixture; it’s No. 61 this week, in its 545th week on the chart. But it’s also a Spooky Season perennial, thanks largely to its eerie, Vincent Price-narrated title track. Last year the set jumped to No. 25 on the chart following Halloween, and it should be due for another big leap this November.
Shakira and Ozuna’s “Monotonía” rallies 25-3 on Billboard’ Hot Latin Songs chart (dated Nov. 5) after its first full tracking week. The track was released Oct. 19 via Sony Music Latin, and debuted in the top 30 a week ago with five days of airplay (during the Oct. 17-23 tracking week).
“Monotonía” pushes to No. 3 with gains in all metrics. It earned 9.4 million U.S. streams, up 205%, in the week ending Oct. 27, according to Luminate. That yields a No. 3 debut on Latin Streaming Songs. Sales, too, assist its position increase, with 2,000 downloads sold — up 38% — during the same period. (The song holds strong at No. 1 on Latin Digital Song Sales.)
Meanwhile, on the radio front, “Monotonía” generated 6 million in audience impressions, up 106%, earned in the week ending Oct. 30, which prompts a 36-13 surge on the all-genre Latin Airplay. On Tropical Airplay, the song lifts 8-4.
Further, “Monotonía” breaks up a Bad Bunny monopoly of the top three on Hot Latin Songs — the entire top three has been occupied by nothing but Benito’s songs since the May 21-dated chart, where he has ruled with songs from his Un Verano Sin Ti album.
“Monotonía’s” move earns Shakira her 32nd top 10. She continues to hold the record for the most top 10s among women since the tally launched in 1986. Ozuna adds a 28th top 10 to his career count.
Elsewhere, “Monotonía” also enters the all-genre Billboard Hot 100 chart at No. 65. It becomes Shakira’s highest debut since “Empire’s” No. 58 arrival in 2014.
On Global territory, Shakira secures her third top 20 title on the Billboard Global 200 ranking as “Monotonía” debuts at No. 18. Ozuna, meanwhile, captures his third top 20 on the Billboard Global Excl. U.S. survey, as the song soars 174-4 in its second week.
In just its third week on Billboard‘s Alternative Airplay chart, Blink-182‘s “Edging” is No. 1.
The song’s three-frame ascent to the top of the list dated Nov. 5 is the quickest of 2022, eclipsing the four-week trip of The Killers‘ “Boy.” It’s also the fastest rise since Twenty One Pilots‘ “Shy Away” made it in three weeks in May 2021.
In the last decade, just three songs have taken three weeks or fewer to hit No. 1 on Alternative Airplay, with “Edging” and “Shy” joined by twenty one pilots’ “Jumpsuit” and its two-week sprint in 2018.
Prior to “Jumpsuit,” the last such coronation belonged to Foo Fighters‘ “Rope,” at three weeks, in 2011.
“Edging” is Blink-182’s fourth No. 1 on Alternative Airplay and first since “Bored to Death” in 2016. The others are “I Miss You” in 2004 and “All the Small Things” in 1999, giving the band No. 1s in each of the last four decades. Green Day and Red Hot Chili Peppers are the only other acts with leaders in four distinct decades, also in the ’90s through the ’20s, dating to the chart’s 1988 inception.
In between “Bored” and “Edging,” Blink-182 – then featuring Matt Skiba on guitar and vocals as of “Bored,” whereas “Edging” marks the return of Tom DeLonge – charted five songs, paced by the No. 2-peaking “She’s Out of Her Mind” in 2017.
Concurrently, “Edging” leaps 22-14 on Mainstream Rock Airplay, marking the trio’s top-charting track since “Bored” reached No. 6.
On the all-rock-format, audience-based Rock & Alternative Airplay chart, “Edging” rules for a second week with 5.7 million audience impressions, up 5%, according to Luminate.
In addition to its radio airplay, the song earned 2.1 million official U.S. streams and sold 1,000 downloads in its second full week of availability.
“Edging” is currently a standalone single from Blink-182, whose last album, 2019’s Nine, debuted at No. 1 on Billboard‘s Top Rock & Alternative Albums chart.
