State Champ Radio Chart Beat
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Beach Weather‘s “Sex, Drugs, Etc.” was originally released in 2016, and now it’s No. 1 on Billboard‘s Alternative Airplay chart dated Oct. 29, 2022.
The track scored TikTok virality beginning earlier this year, leading to its servicing to radio and eventual chart run.
“Sex” is Beach Weather’s first Alternative Airplay No. 1, in the Massachusetts band’s first trip to the chart. The act is the second to rule with an initial entry in 2022, following BoyWithUke, whose “Toxic” led for a week in July. Like “Sex,” “Toxic” also went viral on TikTok.
“We never thought ‘Sex, Drugs, Etc.’ would be the song people gravitate to,” Beach Weather frontman Nick Santino, from Braintree, Mass., said in a release. “I can relate to the meaning of it personally. It’s about having anxiety. I don’t really go out. I’m not a big party guy. I’m the opposite; I’m a homebody. It’s amazing to see a lot of listeners identify with it.”
Concurrently, “Sex” bullets at its No. 6 high on the all-rock-format, audience-based Rock & Alternative Airplay chart with 3 million audience impressions, up 6%, according to Luminate.
While it initially appeared on Alternative Airplay in August, “Sex” debuted on the multi-metric Hot Rock & Alternative Songs chart in July at No. 43; it’s since risen to No. 17, where it spends a second frame on the latest list. In addition to its radio airplay, the song drew 3.8 million official U.S. streams in the Oct. 14-20 tracking week, up 2%. The song also ranks at its highs of No. 12 on Hot Alternative Songs and at No. 15 on Hot Rock Songs.
“Sex” was first released on Beach Weather’s 2016 six-song collection Chit Chat. The band had not since released new material until this August, when it premiered the song “Unlovable.”
Backstreet Boys debut at No. 1 on Billboard’s Top Holiday Albums chart with the group’s first seasonal effort, A Very Backstreet Christmas. The set launches atop the list dated Oct. 29 with 20,000 equivalent album units earned in the U.S. in the week ending Oct. 20, according to Luminate.
Also bowing the Oct. 29-dated chart: Reba’s The Ultimate Christmas Collection (No. 14), the Country Christmas Greatest Hits compilation (No. 24), Selah’s At This Table: A Christmas Album (No. 26), the Now That’s What I Call a Wonderful Christmas compilation (No. 31) and Jim Brickman’s A Very Merry Christmas (No. 32).
The seasonal Top Holiday Albums chart returned to Billboard’s weekly chart menu for the current season with the Oct. 22-dated chart. That week, the top debut was Lindsey Stirling’s Snow Waltz at No. 2, while the soundtrack to Tim Burton’s The Nightmare Before Christmas spent a 12th nonconsecutive week atop the list. Top Holiday Albums will continue to be published on a weekly basis through January of 2023, when it will dash away until the next holiday season. (The chart generally returns every October.)
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 units 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 Oct. 29-dated Top Holiday Albums chart is populated by festive favorites that have decorated the chart through the years, including Michael Bublé’s Christmas, Mariah Carey’s Merry Christmas, Josh Groban’s Noel, Vince Guaraldi Trio’s A Charlie Brown Christmas (the survey’s all-time top title) and Carrie Underwood’s My Gift.
Upcoming holiday album releases that could impact the Top Holiday Albums chart include: Gloria Estefan, Emily Estefan and Sasha Estefan-Coppola’s Estefan Family Christmas (Oct. 13); Chris Isaak’s Everybody Knows It’s Christmas (released Oct. 14); Andrea, Matteo and Virginia Bocelli’s A Family Christmas (Oct. 21); Crowder’s Milk & Cookies: A Merry Crowder Christmas (Oct. 21); Debbie Gibson’s Winterlicious (Oct. 21); Thomas Rhett’s Merry Christmas, Y’all (Oct. 21); Pentatonix’s Holidays Around the World (Oct. 28); Alicia Keys’ Santa Baby (Nov. 4); Jane Monheit’s The Merriest (Nov. 4); Michael W. Smith’s Christmas at Home (Nov. 4); Switchfoot’s This Is Our Christmas Album (Nov. 4); Louis Armstrong’s Louis Wishes You a Cool Yule (Nov. 11); Nelson, A Nelson Family Christmas (Nov. 11); Loreena McKennitt, Under a Winter’s Moon (Nov. 18); André Rieu, Silver Bells (Nov. 18); the Spirited soundtrack (Nov. 18); David Foster and Katharine McPhee’s Christmas Songs (Nov. 25); and Cliff Richard’s Christmas With Cliff (Nov. 25).
DJ Khaled captures his seventh No. 1 on Billboard’s Rhythmic Airplay chart with “Staying Alive,” featuring Drake and Lil Baby, which rises to the top on the list dated Oct. 29. The single climbs from No. 3 following a 7% gain in weekly plays to become the most-played song at U.S. monitored rhythmic radio in the week ending Oct. 23, according to Luminate.
The new champ secures DJ Khaled a seventh No. 1 and comes more than two years since his last. Notably, the incumbent also marks the third-such leading collaboration between DJ Khaled and Drake. Here’s a look at the hitmaking producer’s chart-topping collection on Rhythmic Airplay:
“For Free,” featuring Drake, three weeks at No. 1, beginning Aug. 27, 2016“Shining,” featuring Beyoncé & Jay-Z, one, May 13, 2017“I’m the One,” featuring Justin Bieber, Quavo, Chance the Rapper & Lil Wayne, four, July 1, 2017“Wild Thoughts,” featuring Rihanna & Bryson Tiller, eight, Aug. 5, 2017“No Brainer,” featuring Justin Bieber, Quavo & Chance the Rapper, one, Oct. 6, 2018“Popstar,” featuring Drake, one, Sept. 19, 2020“Staying Alive,” featuring Drake & Lil Baby, one (to date), Oct. 29, 2022
Featured act Lil Baby earns his fourth Rhythmic Airplay No. 1 with “Alive.” His first visit to the summit occurred in 2019 with “Close Friends,” which ruled for one week that July. The last week of that year, he achieved his second champ, “Leave Em Alone,” alongside Layton Greene, City Girls and PnB Rock, which logged three weeks on top. In December 2020, he began a five-week reign as he and DaBaby featured on Pop Smoke’s “For the Night.”
Drake, meanwhile, continues to lap the competition as he adds a record-extending 36th Rhythmic Airplay No. 1 to his ledger. He last led just three weeks ago, with “Jimmy Cooks,” featuring 21 Savage, which slips 2-4 on the current chart. (More Drake and 21 Savage collaborations are just days away, with the duo announcing a new album, Her Loss, arriving Friday, Nov. 4 after a one-week delay).
Thanks to “Alive,” Drake ensures his fifth straight year with at least three No. 1s on the Rhythmic Airplay chart. Along with “Cooks” and “Alive,” he reached the top via he and Tems’ supporting turn on Future’s “Wait for U,” a one-week No. 1 in July.
As Drake once again resets the count, here’s a look at the leaderboard for most No. 1 s on Rhythmic Airplay since the chart began in 1992:
36, Drake17, Rihanna13, Bruno Mars13, Usher12, Chris Brown12, Lil Wayne12, The Weeknd11, Beyoncé10, Post Malone
Shakira returns to Billboard’s Tropical Airplay chart as her latest single “Monotonía,” with Ozuna, breaks into the top 10 on the Oct. 29-dated list. It’s her first appearance on this chart since 2017.
“Monotonía” was released via Sony Music Latin on Oct. 19 and bows at No. 8 on Tropical Airplay with five days of airplay. It starts with 2.8 million in audience impressions earned during the tracking week Oct. 17-23, according to Luminate.
“Monotonía” marks Shakira’s first chart appearance and top 10 effort since “Déjà Vu” with Prince Royce closed its 42-week frame in the top 10 on December 2017. Out of those, the track took over atop the tally for 11 consecutive weeks (April-July 2017). Ozuna, meanwhile, reached a No. 3 high earlier in the year with “Señor Juez,” with Anthony Santos (Feb. 19-dated ranking).
Back to Shakira, she continues to hold the third-most top 10s among female acts on Tropical Airplay, trailing Olga Tañon’s 28 top 10s and India’s 25. Here’s a recap of the women with the most top 10s since the list launched in 1994:
28, Olga Tañón25, India20, Shakira16, Giselle16, Gloria Estefan11, Paulina Rubio11, Thalia
Elsewhere, “Monotonía” arrives at No. 25 on the Hot Latin Songs chart. For its first week on the multimetric ranking, the song registered 3.1 million official U.S. streams in the week ending Oct. 20. Sales, too, push the song to a top 30 start. Despite its only one day of activity, the song sold 2,000 downloads, yielding a No. 1 debut on Latin Digital Song Sales.
Further, “Monotonía” launches at No. 36 on the all-genre Latin Airplay chart. With a total of 63 entries on his career chart history, Ozuna extends his second-most appearances rank just behind Daddy Yankee’s 80 entries.
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: Taylor Swift’s blockbuster Midnights bow comes with sparkling cross-platform numbers for its lead single and big gains for her back catalog, while Billie Holiday spawns an unlikely new TikTok trend and Halloween perennials begin to perk back up.
‘Anti-Hero’ Already Saving the Day at Radio
A new Taylor Swift album yielding a huge song debut on the Billboard Hot 100 in the week after its release shouldn’t be a surprise by now. After all, three of her previous four full-lengths — Folklore, Evermore, and the Taylor’s Version re-recording of Red — arrived with concurrent No. 1 bows on the Hot 100: “Cardigan,” “Willow” and “All Too Well (10-Minute Version)” each reached the top of the chart in their respective debut weeks. “Anti-Hero,” the lead single from latest Republic LP Midnights, has a great shot to both join those songs as another chart-topper for Swift – and surpass them all as her biggest chart hit in years.
That’s in large part because the slick, sardonic pop standout is off to an enormous start at radio, even compared to Swift’s last three No. 1 singles. “Anti-Hero” debuts on three radio charts — Pop Airplay (No. 23), Adult Pop Airplay (No. 19) and Adult Contemporary (No. 14) — after just three days of activity, from its Oct. 21 release through Sunday, Oct. 23. In those three days, “Anti-Hero” earned 16.1 million audience impressions from over 275 reporters to Billboard’s all-format Radio Songs chart, according to Luminate. Compare that to the 5.8 million impressions for “Willow” or the 4.7 million for “Cardigan” over their respective first three days — or the 286,000 of “All Too Well (Taylor’s Version)” across its full first week — and it’s clear that radio is very on board with Swift’s return to a more traditional pop sound.
Of course, the quick radio start for “Anti-Hero” comes in addition to blockbuster streaming numbers — over 30 million U.S. on-demands in its first three days, according to Luminate. Add up all of the harbingers of its big commercial debut and “Anti-Hero” very comfortably can announce: It’s me, hi, it’s the smash single, it’s me. – JASON LIPSHUTZ
Taylor Swift’s Back Catalog Soars, Before and After ‘Midnights’
Speaking of Swift’s streaming gains, the Oct. 21 release of Midnights was both preceded and followed by the superstar’s catalog earning renewed interest from fans eager to prepare themselves for the new album, then compare her latest opus to her others. After earning 56.9 million U.S. on-demand streams in the three days from Friday, Oct. 14, through Sunday, Oct. 16, according to Luminate, Swift’s catalog earned 64.6 million streams over the following three days – a 14% gain as Swifties celebrated the Midnights release week.
On Thursday, Oct. 20, the catalog jumped to 27.2 million daily streams — a 21% gain for Midnights Eve. And while Swift’s new album was the streaming focus for fans on the following day, they still clocked in nearly 23 million streams for her non-Midnights music last Friday, a 10% jump from the previous Friday. Swift turned the release of Midnights into a global event for fans, and they responded in kind by returning to their favorite older tracks in the days surrounding its unveiling. – JL
Odd TikTok Trend Brings Billie Holiday’s “Solitude” to the Masses
“Solitude” has a long history of re-popularizing itself. First, it was a popular recording by Duke Ellington in the 1930s; next, it reached its zenith with Billie Holiday’s rendition of the tune in 1952. More recently the tune was sung by Andra Day for the film the United States vs. Billie Holiday, and now it’s… become a meme on TikTok? While some users are still going back to the original Holiday audio, using the song to soundtrack cozy nights at home and baking videos, more videos come from a joke that the song has somehow inspired: users will go up to their friend, zooming in on old fashion-looking shoes they are wearing, saying, “oh s–t, they got the god d–n ‘in my solituuuude” (the “in my solitude” part sung in a mocking rendition of Holiday).
Regardless of whether or not it’s disrespectful to the jazz standard or just plain un-funny to you, the meme has given the Verve-reissued Holiday version of the song a major boost on streaming. “Solitude” posted nearly 649,000 official on-demand U.S. streams for the week ending Oct. 20 – a gain of over 85% from the previous week, according to Luminate. – KRISTIN ROBINSON
“Another” Bump for Tom Odell
British singer-songwriter Tom Odell’s heartbreak ballad “Another Love” was a major hit throughout Europe upon its release on Columbia a decade ago, making it to the top 10 of the U.K.’s Official Charts in early 2013, even as it mostly missed the charts stateside. But the song has been steadily growing once again over the past year thanks largely to its popularity on TikTok, and now it’s nearly as big a hit once more as it ever was: The song hits No. 10 on Billboard’s Global Excl. US chart this week in its 81st week, breezing past Glass Animals’ “Heat Waves” for the longest-ever climb to the listing’s top 10.
The song is making waves over here this time, too: After climbing steadily in consumption for most of the past month, this week the song gets a more pronounced spike, gaining 19% to nearly 4 million in official on-demand U.S. streams for the week ending Oct. 20. The streaming activity sends the song to a new No. 19 peak on Billboard’s Hot Rock & Alternative Songs tally this week (chart dated Oct. 29), and even to No. 15 on the Bubbling Under Hot 100 chart. – ANDREW UNTERBERGER
Q&A: Alex Tear, VP Pop Programming SiriusXM + Pandora, on What’s Trending Up in His World
With 2022 nearly in the books, what do you think we’ll consider as the biggest story in pop music this year by the time it ends?
One of the biggest stories for us this year is Harry’s House. From “As It Was” to “Late Night Talking” and “Music For A Sushi Restaurant,” our HITS 1 listeners continue to rank Harry at the top. Lizzo & Doja Cat’s pop presence also needs to be respected, from Lizzo’s No. 1 “About Damn Time” and “2 Be Loved” to Doja’s collab with Post Malone, “I Like You (A Happier Song),” and recent hit with “Vegas.”
Which songs could you foresee dominating the final few months of the year and pushing into the new year?
We’re so excited for Sam Smith and Kim Petras: “Unholy” has shook year-end according to our HITS 1 listeners. Rihanna’s “Lift Me Up” will close 2022 with a bang! Queen Bey’s “Cuff It” will also continue to do well and sounds great on SiriusXM.
Who’s one artist who made noise in 2022 that you think could have an even bigger 2023?
Sam Smith and Beyoncé, while giving honorable mention to Lil Nas X for 2023. Rihanna will also roll into the new year with a commanding presence!
Fill in the blank: in 2023, more programmers should be paying attention to __________.
Keeping the art and science present. The available resources to predict and measure music are abundant, it’s more important than ever to continue early human discovery to help shape, elevate, own and differentiate our brands with the next emerging artists. – J.L.
Season’s Gainings: Halloween Listening Starts Early
We hear a lot about how the Christmas season starts earlier every year – but before Mariah & Co. officially begin their takeover, we’re also seeing Spooky Season expanded well beyond the final week of October. Perennial Halloween favorites have been seeing huge gains since the end of September: Bobby “Boris” Pickett’s “Monster Mash” has gained from 654,000 official on-demand U.S. streams and 700 digital sales for the week ending Sept. 22 to over 2.4 million streams and 2,000 sales four weeks later (gains of 270% and 197%, respectively), according to Luminate, while Ray Parker Jr.’s “Ghostbusters” raised from just over one million streams and 300 sales to just over three million streams and 1,200 sales (up 188% and 247%, respectively).
And then of course, there’s the daddy of them all: Michael Jackson’s “Thriller,” which has re-entered the Hot 100 in eight of the past nine Halloween seasons – making it all the way back to No. 19 last year. We’ll see if it has enough juice to beat that position this year (or even threaten its original No. 4 peak, set back in 1984), but it’s already up to 3.6 million in streams and 1,700 in sales, gains of 129% and 181% from four weeks earlier. – AU
Official HIGE DANdism’s “Subtitle” rises 3-1 on the Billboard Japan Hot 100, dated Oct. 26, increasing streams by over 50 percent from the week before.
The theme of the Fuji TV drama series silent debuted at No. 3 last week with 9,905,2947 weekly streams and racked up 18,116,526 this week (No. 1 for the metric), jumping 54.7 percent to climb to the top of the chart. The track was also boosted by downloads (No. 2), video views and radio airplay (No. 4), while also coming in at No. 46 for Twitter mentions.
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Last week’s No. 1 song, Kenshi Yonezu’s “KICK BACK,” slips to No. 2. While the Chainsaw Man opener also increased streams (from 12,556,627 to 15,735,232, up by 25.3 percent, No. 2) this week and topped downloads, it couldn’t overcome the difference between “Subtitle” with the other metrics of the chart’s methodology: No. 5 for radio, No. 6 for Twitter, No. 92 for karaoke, No. 100 for video.
This week saw a number of titles launching with high CD sales, with four songs bowing in the top 10 of the Japan Hot 100. AKB48’s “Hisashiburi no Lip Gloss” topped sales with 429,419 copies sold and THE RAMPAGE from EXILE TRIBE’s “Tsunagekizuna” followed with 142,364 copies sold. “Lip Gloss” came in at No. 7 for look-ups — the number of times a CD is ripped to a computer — No. 9 for Twitter, and No. 70 for radio, while “Tsunagekizuna” topped radio and came in at No. 2 for Twitter, No. 45 for look-ups and No. 64 for streaming. The latter managed to flip the difference in physical sales with the total points gained from other metrics, debuting at No. 3 on the Japan Hot 100 while “Lip Gloss” followed at No. 4.
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.
See the full Billboard Japan Hot 100 chart, tallying the week from Oct. 17 to 23, 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 chart dated Nov. 5: Taylor Swift’s Midnights laps the rest of 2022’s full-length releases in its first couple of days, while the Arctic Monkeys aim for their first top five entry on the chart and YoungBoy Never Broke Again plans his sixth (!!) top 20 album of 2022.
Taylor Swift, Midnights (Republic)
Soon after its Oct. 21 release, Taylor Swift’s Midnights was no longer competing with the rest of the albums released in the past week, or even in the past year — Billboard reported it as the first album of the 2020s to cruise past the 1 million-equivalent album units mark after just three full days. At this point, Swift’s main rival is her own history: The 1.3 million units it had moved as of Monday (Oct. 24) just passed her reputation and its 1.238 million first-week units moved back in Dec. 2017 for the biggest debut of the past half-decade. (After that, she’s getting into Adele territory.)
Swift pulled off this blockbuster bow by finding a happy medium in between the surprise-release strategy of her 2020 Folklore and Evermore sets and her more traditional rollouts of the 2010s. Though the album was announced months in advance (at August’s MTV Video Music Awards), no singles came out before Midnights did; instead, Swift gradually unveiled song titles and themes of the set, building up anticipation for the set while still keeping its actual sound under wraps. Then, when the 13 tracks finally debuted at once at (of course) midnight on Oct. 21, Swift also teased an additional surprise for the true insomniacs among the Swifties — which ended up being the album’s 3am Edition, a deluxe version with seven bonus cuts.
Swift also boosted her first-week numbers the old-fashioned way: by releasing tons of physical products. Midnights has already set the single-week record for vinyl copies sold in the modern era (since Luminate began tracking music sales in 1991) with over 500,000 records — more than most artists can now manufacture, let alone sell. Her sales are also boosted by a standard digital album, an iTunes-exclusive version with a bonus track, four standard CD and vinyl editions (each with a different cover, and different-colored records; the CDs are available in explicit and censored versions), a cassette tape, and even a Target-exclusive “Lavender” edition of the album on CD and colored-vinyl LP, with three bonus tracks on the CD. For good measure, she sold autographed versions of the four explicit CDs and the four vinyl LPs on her web store.
Arctic Monkeys, The Car (Domino)
In a universe without Swift, this week’s Billboard 200 talk might be about whether or not the Arctic Monkeys would finally score their first No. 1. The U.K. indie quartet, superstars in their home country for the better part of two decades, have claimed six straight No. 1s on the U.K. Official Charts without getting higher than No. 6 on the Billboard 200, with 2013’s A.M.. But the group has only grown in stateside popularity since that album’s release, with several tracks from both that set and their older catalog becoming streaming perennials after finding popularity on TikTok.
This week, the band releases its seventh album, The Car, preceded by the dreamy singles “There’d Better Be a Mirrorball” and “Body Paint.” Neither song has found the same streaming success as lusty old hits — “505,” from 2007’s Favourite Worst Nightmare, remains their lone entry on this week’s Rock Streaming Songs chart. But the album has received rave reviews, and the band is preparing for its biggest tour so far, including arena headlining dates in Chicago and Boston, and two nights at New York’s Forest Hills stadium.
YoungBoy Never Broke Again, Ma’ I Got a Family (Atlantic): Another week, another Billboard 200 contender from New Orleans rapper YoungBoy Never Broke Again. After hitting the chart’s top 20 with each of his first five full-length releases this year (including a collaborative set with DaBaby) – most recently with mixtape 3800 Degrees, which debuted at No. 12 just earlier this month – he’s now looking to go six for six with Ma’ I Got a Family. (Given the rapper’s recent decamping from Atlantic to Motown, some insiders have speculated that his particularly prolific release schedule of late has been at least partly motivated by contract fulfillment.)
If the market isn’t too crowded for another YoungBoy album, this one might get a warmer reception on streaming than his previous one. While 3800 Degrees ran just 13 tracks and featured no big-name guest stars, Family boasts 19 tracks and includes marquee features from Nicki Minaj and Yeat. It’s also hosted by DJ Drama in the style of his classic Gangsta Grillz mixtapes – a throwback framework for the 23-year-old MC that also helped propel Tyler, the Creator’s Call Me If You Get Lost set to No. 1 in 2021.
IN THE MIX
Jeezy & DJ Drama, SNOFALL (YJ/Def Jam): Speaking of DJ Drama – he’s had a busy week, also co-headlining the Snofall set with southern rap great and frequent collaborator Jeezy. The 17-track set features appearances by next-generation streaming stars Lil Durk, 42 Dugg and EST Gee.
Carly Rae Jepsen, The Loneliest Time (School Boy/Interscope): It was 10 years ago that Carly Rae Jepsen’s “Call Me Maybe” first swept the U.S., topping the Billboard Hot 100 and introducing a new karaoke standard to the masses. The Canadian singer-songwriter has found more modest crossover success in the years since, but remains a cult favorite among pop fans – a status re-confirmed with her well-received sixth album, The Loneliest Time, and advance singles “Western Wind” and “Beach House.”
Le Sserafim, Antifragile (Source) After making their EP debut in May with Fearless, Korean quintet Le Sserafim returns this October with sophomore EP Antifragile, which arrives with eight different varieties of CD packages box set (including randomized paper-good inserts like photocards and posters). The set’s title track has already made an international impact, debuting at No. 79 on Billlboard’s Global 200 listing this week.
After just its first week-and-a-half of availability, Blink-182‘s “Edging” is No. 1 on Billboard‘s Rock & Alternative Airplay chart.
The song tops the Oct. 29-dated ranking with 5.7 million audience impressions in the Oct. 17-23 tracking week, according to Luminate. It debuted at No. 2 the week before with 3.9 million in audience, tallied from its release Oct. 14 through Oct. 16.
It’s the trio’s first No. 1 on the chart, which began in 2009. Its previous best, “Bored to Death,” peaked at No. 2 in 2016.
With a two-week chart trip to No. 1, “Edging” is one of just 10 songs to crown the list in two frames or fewer. It’s the second song to complete such a sprint in 2022, following Red Hot Chili Peppers‘ “Black Summer,” which also took just two weeks in February.
“Edging” is currently a standalone single and Blink-182’s first release with Tom DeLonge on vocals and guitars since he departed the band in the mid-2010s. Alkaline Trio‘s Matt Skiba filled in on guitar and vocals for the group’s two most recent albums, 2016’s California and 2019’s Nine; the former spent a week at No. 1 on the Billboard 200 chart, while the latter debuted and peaked at No. 3.
Concurrently, “Edging” soars 12-2 on Alternative Airplay, Blink-182’s best rank since “She’s Out of Her Mind” peaked at No. 2 in 2017. The band boasts three No. 1s on the chart: “All the Small Things” in 1999, “I Miss You” in 2004 and “Bored” in 2016. The group first reached the chart in 1997 with “Dammit,” which hit No. 11 the next year.
“Edging” also jumps 33-22 on Mainstream Rock Airplay.
Following its first week of streams and sales, “Edging” opens at Nos. 4, 6 and 7 on the streaming-, airplay- and sales-based Hot Alternative Songs, Hot Rock Songs and Hot Rock & Alternative Songs charts, respectively. In addition to its radio airplay, which totaled 7.5 million impressions across all formats Oct. 14-20, the song drew 6.1 million official U.S. streams and sold 9,000 downloads in its first seven days.
The song also enters the all-genre Billboard Hot 100 at No. 61, becoming Blink-182’s highest ranking song since “I Miss You” peaked at No. 42 in 2004.
Consumption of the rest of Blink-182’s catalog, which includes eight studio albums beginning with 1995’s Cheshire Cat, also rose Oct. 14-20, sparked by the new single as well as the announcement of the band’s new tour, its first since DeLonge rejoined the band. In that span, Blink-182’s music received 30.2 million official on-demand U.S. streams, up 57% over Oct. 7-13. Excluding “Edging,” the numbers remain striking: 24.1 million streams, a 25% vault.
Even more substantial: the band’s three-week gains, from Sept. 30 through Oct. 20, encompassing the DeLonge reunion announcement Oct. 11 and the release of “Edging” Oct. 14:
Blink-182 Official On-Demand U.S. Streams
Sept. 30-Oct. 6: 11.9 millionOct. 7-13: 19.2 million, up 62%Oct. 14-20: 30.2 million, up 57% (24.1 million, up 25%, without “Edging,” released Oct. 14)
The band’s catalog surged 154% Oct. 14-20 as compared to Sept. 30-Oct. 6, or 103% when removing “Edging.”
Additionally, “All the Small Things” re-enters the Oct. 29 Hot Rock & Alternative Songs chart (where older titles are eligible to appear if in the top half and with a meaningful reason for their returns). The song, which topped Alternative Airplay for eight weeks and hit No. 6 on the Hot 100 in 1999-2000, ranks at No. 22 on Hot Rock & Alternative Songs with 3.1 million streams, up 16%.
Other Blink-182 classics with sizable streaming gains Oct. 14-20 include “I Miss You” (2.5 million, up 14%), “What’s My Age Again?” (2.3 million, up 23%) and “First Date” (1.5 million, up 35%).
“Edging” additionally bounds in atop Rock Digital Song Sales and Alternative Digital Song Sales with its 9,000-download count, Blink-182’s first No. 1 on both charts. It’s also Nos. 7 and 8, respectively, on Rock Streaming Songs and Alternative Streaming Songs.
On the Top Rock & Alternative Albums chart, the band’s 2005’s Greatest Hits collection pushes 23-13 with 12,000 equivalent album units earned, up 26%. The set also returns to the all-genre Billboard 200‘s top half, jumping 117-64, its first time in that region since February 2006.
Red Hot Chili Peppers’ Return of the Dream Canteen debuts atop multiple Billboard album charts (dated Oct. 29). The set, which is the band’s second studio effort of 2022, bows at No. 1 on Top Album Sales, Top Rock & Alternative Albums, Top Rock Albums, Top Alternative Albums, Top Current Album Sales, Tastemaker Albums and Vinyl Albums. The set sold 56,000 copies in the U.S. in the week ending Oct. 20, according to Luminate.
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Notably, on the Top Album Sales chart, the Peppers have scored a pair of No. 1s in 2022 (Unlimited Love and Return of the Dream Canteen) – making it the first group with two No. 1 rock albums on the chart in less than 12 months since 2005. That year, System of a Down doubled-up at No. 1 with Mezmerize and Hypnotize. (The Peppers have logged their two 2022 No. 1s six months and two weeks apart; System of a Down notched theirs in 2005 six months and a week apart.)
In total, the Peppers have logged four No. 1s on Top Album Sales: Canteen, Unlimited Love, The Getaway (2016) and Stadium Arcadium (2006).
Billboard’s Top Album Sales chart ranks the top-selling albums of the week based only on traditional album sales. The chart’s history dates back to May 25, 1991, the first week Billboard began tabulating charts with electronically monitored piece count information from SoundScan, now Luminate. Pure album sales were the sole measurement utilized by the Billboard 200 albums chart through the list dated Dec. 6, 2014, after which that chart switched to a methodology that blends album sales with track equivalent album units and streaming equivalent album units. For all chart news, follow @billboard and @billboardcharts on both Twitter and Instagram.
Top Rock & Alternative Albums, Top Rock Albums and Top Alternative Albums rank the week’s most popular rock and alternative albums, rock albums and alternative albums, respectively, by equivalent album units. Top Current Album Sales lists the week’s best-selling current (not catalog, or older albums) albums by traditional album sales. Tastemaker Albums ranks the week’s best-selling albums at independent and small chain record stores. Vinyl Albums tallies the top-selling vinyl albums of the week.
Of Return of the Dream Canteen’s 56,000 copies sold, vinyl sales comprise 26,500 – 48% of its first-week. CD sales comprise 21,500 – 38% of its debut frame. The album’s robust vinyl sum was driven by over 10 available variants, including exclusive versions for Target, independent record stores and the Peppers’ webstore.
The album was led by the single “Tippa My Tongue,” which hit No. 1 on both the Rock & Alternative Airplay and Alternative Airplay charts. On the latter, it’s the 15th No. 1 for the group, extending its record for the most No. 1s in the chart’s history.
Stray Kids’ MAXIDENT falls to No. 2 in its second week on Top Album Sales, with 25,000 sold (down 78%). The 1975 collect its fourth top 10-charting effort on the list with Being Funny in a Foreign Language, as the band’s new studio set bows at No. 3 with 20,000 sold.
Backstreet Boys’ first holiday album, A Very Backstreet Christmas, launches at No. 4 on Top Album Sales with nearly 20,000 sold. It’s the 11th consecutive top 10 for the group – the entirety of their charting releases. It also opens at No. 1 the Top Holiday Albums chart, which ranks the week’s most popular holiday albums by equivalent album units.
Alter Bridge debuts at No. 5 with Pawns & Kings (14,000 sold) – giving the rock act its fourth top 10. NCT 127’s 2 Baddies falls 4-6 with 7,000 (down 40%), Beyoncé’s former leader Renaissance tumbles 2-7 with nearly 7,000 (down 86%) and Harry Styles’ chart-topping Harry’s House rises 13-8 with 6,500 (down 2%).
Rounding out the top 10 is the debut of Lil Baby’s It’s Only Me (No. 9; a little over 6,000) and TWICE’s former No. 1 Between 1&2: 11th Mini Album (11-10, 6,000; down 16%).
In the week ending Oct. 20, there were 1.680 million albums sold in the U.S. (down 11.4% compared to the previous week). Of that sum, physical albums (CDs, vinyl LPs, cassettes, etc.) comprised 1.32 million (down 13.7%) and digital albums comprised 360,000 (down 1.8%).
There were 644,000 CD albums sold in the week ending Oct. 13 (down 9.9% week-over-week) and 666,000 vinyl albums sold (down 17.1%). Year-to-date CD album sales stand at 27.402 million (down 7.8% compared to the same time frame a year ago) and year-to-date vinyl album sales total 30.698 million (up 2%).
Overall year-to-date album sales total 74.832 million (down 7.6% compared to the same year-to-date time frame a year ago). Year-to-date physical album sales stand at 58.523 million (down 2.8%) and digital album sales total 16.309 million (down 21.6%).
The typical album cycle in recent years: drop a single, announce a handful of concerts, set a release date, encounter a global pandemic, wait two years for the touring industry to allow your world tour to play. Thirty months after tickets went on sale, Lady Gaga has wrapped The much-bigger-than-originally-planned Chromatica Ball to the tune of $112.4 million and 834,000 tickets, according to figures reported to Billboard Boxscore.
The original incarnation of The Chromatica Ball was a set of two European shows (Paris on July 24, 2020 and London on July 30) and four North American shows (Boston on Aug. 5, Toronto on Aug. 9, Chicago on Aug. 14, and East Rutherford, N.J., on Aug. 19). Delayed once to 2021 and again to 2022, the tour expanded from six shows to 20, playing five markets in Europe (including two shows in London), 11 in North America and a double-header in Tokyo.
Much like Harry Styles and Dua Lipa, being forced to push her shows to 2022 by the pandemic yielded heightened anticipation rather than attention-span malaise. Gaga swept through Germany, Sweden, France, the Netherlands and England, earning $28.3 million from six shows in July. She followed with a North American leg that earned $72.6 million in July and August, plus two shows in Tokyo that generated $11.5 million on Sept. 3-4.
Gaga set a handful of local records along the way, claiming the highest gross in Hershey Park Stadium’s history. Among single-night engagements, she has the all-time top gross at San Francisco’s Oracle Park ($7.4 million), top attendance at Boston’s Fenway Park (38,267), and gross and attendance at Chicago’s Wrigley Field ($6.9 million; 43,019). The only event with a larger gross at L.A.’s Dodger Stadium was 2017’s The Classic West, the two-day classic rock super-festival headlined by the Eagles and Fleetwood Mac.
The Chromatica Ball was Gaga’s first all-stadium run, but it wasn’t her first dip in the pond. As early as The Monster Ball (2009-11), the pop shapeshifter played stadiums in multiple Mexican markets, selling out two nights at Mexico City’s Foro Sol with 111,000 tickets sold.
Gaga’s stadium ambition spread throughout Asia, Europe, South America and Africa on The Born This Way Ball (2012-13) and ArtRave: The Artpop Ball (2014), mixed with arenas on each continent, and exclusively indoor venues in North America. Conversely, The Joanne Ball (2017-18) mixed arenas and stadiums in North America but stuck to arenas for its limited European run.
Despite its 2022 expansion, The Chromatica Ball was relatively brief compared to her previous tours. But moving to stadiums allowed Gaga to maximize her nightly audience, averaging 41,700 tickets per night, up 127% from her previous best of 18,400 on The Born This Way Ball. In nightly revenue, The Chromatica Ball leapt by 190% to a pace of $5.6 million, passing The Joanne Ball’s $1.9 million.
At just 20 shows, The Chromatica Ball became Gaga’s highest grossing tour in a decade, and marked her third $100 million-dollar tour, following The Monster Ball and The Born This Way Ball.
In all, Lady Gaga has a reported career gross of $689.5 million and attendance of 6.3 million.
