State Champ Radio Chart Beat
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Stray Kids‘ “Case 143” tallies a second week at No. 1 on Billboard‘s Hot Trending Songs chart (dated Oct. 22), powered by Twitter.
The song is the lead single off the K-pop group’s new set MAXIDENT, which debuts at No. 1 on the Billboard 200 with 117,000 equivalent album units earned in the Oct. 7-13 tracking week, according to Luminate. Album sales comprise 110,000 of the set’s sum, marking the fourth-largest sales week of any title this year.
“Case 143” became the Stray Kids’ first No. 1 on Hot Trending Songs a week earlier. The act is the fourth group to top the chart this year, joining BLACKPINK, BTS and SB19.
Running down the top five on Hot Trending Songs, TREASURE’s “Hello” jumps 4-2, hitting a new high in its second week; Lisa claims both Nos. 3 and 4 with former four-week No. 1 “Lalisa” and “Money,” respectively; and BamBam’s “Slow Mo” rises 8-5 (after reaching No. 3).
Billboard‘s Hot Trending Songs charts, powered by Twitter and sponsored by Capital One, track global music-related trends and conversations in real-time across Twitter, viewable over either the last 24 hours or past seven days. A weekly, 20-position version of the chart, covering activity from Friday through Thursday of each week, posts alongside Billboard’s other weekly charts on Billboard.com each Tuesday. The charts highlight buzz around new releases, award shows, festival moments, music nostalgia and more. Hot Trending Songs is unique in that it tracks what songs people are talking about, not necessarily what they’re listening to.
Billboard‘s Hot Trending Songs chart will be on pause after the latest, Oct. 22-dated ranking. A new iteration of the chart will return Tuesday, Nov. 1.
Fleetwood Mac continues its surge on Billboard‘s charts in the 2020s as its classic track “Everywhere” hits the Hot Rock & Alternative Songs tally (dated Oct. 22) at No. 25.
Originally released on the band’s 1987 album Tango in the Night, “Everywhere” has received renewed attention thanks to its synch in a commercial for Chevrolet’s electric vehicle line.
The track enters Hot Rock & Alternative Songs (where older songs are eligible to appear if in the top 25 and with a meaningful reason for their return), with 2.3 million official U.S. streams, up 16%, and 5,000 downloads sold, up 12%, in the U.S. Oct. 7-13, according to Luminate.
Prior to the commercial’s premiere, the song was generally averaging about 1.3-1.4 million streams a week in the U.S.
“Everywhere” concurrently rules Rock Digital Song Sales for a third week, all consecutively, and vaults 7-3 on the all-genre Digital Song Sales list.
“Everywhere” stands as Fleetwood Mac’s most recent top 20 hit, among 16 total, on the Billboard Hot 100, having reached No. 14 in February 1988. It also became the band’s second of three Adult Contemporary No. 1s. (Tango in the Night marked Fleetwood Mac’s last studio LP fully featuring its famed lineup of Mick Fleetwood, John McVie, Christine McVie, Stevie Nicks and Lindsey Buckingham.)
The song follows the revival of another of Fleetwood Mac’s hits: In October 2020, “Dreams” re-entered the Hot 100 and rose as high as No. 12 after its inclusion in a viral TikTok trend. The song topped the chart for a week in 1977, marking the group’s second of nine top 10s.
Tango in the Night hit No. 7 on the Billboard 200 in 1987. Fleetwood Mac boasts seven top 10s on the chart, including four No. 1s.
Puerto Rican singer Lyanno scores his first entry on the Billboard Hot 100, as his new collaboration with Rauw Alejandro and Brray, “Lokera,” debuts at No. 99 on the Oct. 22-dated chart.
The song, released in July via Duars/Sony Music Latin, debuts with 4.6 million radio airplay audience impressions and 4.1 million U.S. streams (up 4%) in the Oct. 7-13 tracking week, according to Luminate. It also holds at its No. 16 high on the multi-metric Hot Latin Songs chart, keeps at its No. 9 best on Latin Rhythm Airplay and rises 19-16 on Latin Airplay.
Contributing to the song’s popularity is TikTok, as a portion of its audio has been used in over 400,000 clips on the platform to date. (TikTok presently does not directly contribute data to Billboard’s charts.) Alejandro boasts 12.2 million TikTok followers, while Lyanno and Brray have 97,000 and 21,000, respectively.
The song’s official video, which was filmed in one take, features all three artists at a wild house party and has raked in over 43 million YouTube views to date.
While “Lokera” earns Lyanno his first Hot 100 entry, it brings Alejandro his sixth and Brray his second, after “La Jeepeta,” with Nio Garcia, Anuel AA, Myke Towers and Juanka, in 2020.
Lyanno (real name Edgardo Feliciano) has been a familiar face on Billboard‘s Latin charts since 2018. He notched his first chart appearance on Dec. 1, 2018, when his “Luz Apaga,” with Ozuna, Lunay and Rauw Alejandro, debuted at No. 40 on Hot Latin Songs; it peaked at No. 26 two weeks later. “Lokera” became his second entry on Hot Latin Songs when it debuted in August.
The reggaeton/trap-leaning artist has also landed on Billboard‘s charts as featured on Lunay’s “A Solas,” also with Anuel AA, Brytiago and Alex Rose (No. 9 peak on Latin Digital Song Sales in 2018), and with his solo single “Pa’ Que Vuelvas” (No. 38 peak on Latin Pop Airplay in 2019). Meanwhile, “Hasta Abajo,” with Kevin Roldan and Bryant Myers, reached No. 90 on Billboard Global Excl. U.S. and No. 165 on the Billboard Global 200 in February 2021.
Lyanno has also recorded songs with Jhay Cortez, Chencho Corleone and Zion & Lennox, among others. He released his debut studio album El Cambio in April through Rimas. The LP includes collaborations with Arcangel, De La Ghetto, Lunay, plus two with Alejandro: “Poderosa” and “En Tu Cuerpo.”
“Lokera” is slated to appear on Alejandro’s album Saturno, due next month.
Stray Kids re-enter the Billboard Artist 100 chart (dated Oct. 22) at No. 1, returning as the top musical act in the U.S. for a second total week, thanks to the group’s new LP MAXIDENT.
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The set blasts in at No. 1 on the Billboard 200 with 117,000 equivalent album units earned, according to Luminate. It’s the group’s second leader on the chart, after mini album ODDINARY in April. Album sales comprise 110,000 of MAXIDENT‘s total sum, the fourth-largest sales week of any album this year.
Stray Kids are the third K-pop group to rule the Artist 100 for multiple weeks, dating to the chart’s 2014 inception, after BTS (21 total weeks) and BLACKPINK (two). Two additional K-pop acts have hit No. 1: SuperM and TWICE. Stray Kids first topped the chart for a week in April.
Notably, Stray Kids have now re-entered the Artist 100 at No. 1 on two occasions. The act is the sixth to re-enter at the summit as many as two times, after Bon Jovi, Eminem, Kanye West, Kenny Chesney and Slipknot.
Elsewhere on the Artist 100, Beyoncé bounds 24-2 thanks to the wide vinyl release of her former Billboard 200 No. 1 Renaissance. The album rises 6-3 on the Billboard 200 with 75,000 units, up 145%, as it sold 45,000 on vinyl and rebounds for a second week at No. 1 on the Vinyl Albums chart.
The Artist 100 measures artist activity across key metrics of music consumption, blending album and track sales, radio airplay and streaming to provide a weekly multi-dimensional ranking of artist popularity.
Sam Smith and Kim Petras are on the verge of completing an “Unholy” (EMI) month in the U.K.
The hit collaboration leads the midweek U.K. chart and is heading for a fourth consecutive week at No. 1.
“Unholy” heads an unchanged top 4, as a psycho stalks the top 5. Anne-Marie and Aitch’s “Psycho” (via Atlantic) is eying an 8-5 climb, for what would be a new high in its fifth week on the chart.
Based on midweek data, Stormzy’s on target for the highest new entry with “Hide & Seek” (Def Jam). It’s chasing a No. 9 debut. If it holds its ground, “Hide & Seek” will give the Brit Award winner a 13th U.K. top 10.
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Further down the list, Oliver Tree and Robin Schulz’s “Miss You” (Atlantic) could crack the top 20 for the first time, bouncing 16 places to No. 12 on the Official Chart Update. It’s battling another version of “Miss You,” cut by 19-year-old German producer Southstar, who has accused his compatriot Schulz of releasing a “copycat version” (Schulz and Tree have yet to respond to the accusation). Southstar’s “Miss You” (B1/Ministry Of Sound) is new at No. 26 on the chart blast.
West London rapper Central Cee is flying high with his new cut, “One Up” (Central Cee) which starts at No. 17 on the chart blast. Since bursting onto the scene with 2020’s “Loading,” Central Cee has secured 13 U.K. top 40s, including four top 10s.
Blink-182’s freshly-reunited classic line-up of Mark Hoppus, Travis Barker and Tom DeLonge could bag an 11th U.K. top 40 appearance with “Edging” (Columbia), new at No. 23 on the chart update. “Edging” is the first cut from the pop-punk favorites’ forthcoming album, and the first with DeLonge since the singer/guitarist left the band for a second time, in 2014.
Finally, the “lost” Queen track “Face It Alone” (EMI) is impacting the midweek tally. The previously unheard track features vocals from the band’s iconic late singer Freddie Mercury and was recorded during the 1988 sessions for the band’s penultimate album with Mercury, 1989’s The Miracle.
The song is the lead single from the upcoming Nov. 18 re-release of the band’s 13th album, which will be available as the 8-disc Queen The Miracle Collector’s Edition boxed set.
With “Face It Alone,” Queen should add to their tally of 55 career titles on the U.K. singles chart. It’s new at No. 46 on the chart blast.
All will be revealed when the Official U.K. Singles Chart is published Friday (Oct. 21).
The U.K. albums chart battle is heating up as Red Hot Chili Peppers apply the pressure on the 1975.
Based on midweek data published by the Official Charts Company, the 1975 is out front with Being Funny In A Foreign Language (Dirty Hit), the British alternative rock act’s fifth studio album. If it holds its position, Being Funny will bring Matt Healy and Co. their fifth U.K. leader, following their self-titled 2013 debut; I like it when you sleep, for you are so beautiful yet so unaware of it (from 2016); A Brief Enquiry Into Online Relationships (2018) and Notes On A Conditional Form (2020).
The Chili Peppers could have a say in that.
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The veteran California rockers start at No. 2 on the Official Chart Update with Return Of The Dream Canteen (Warner Records). It’s their 13th album and the follow-up to Unlimited Love, which led the U.K. chart in April of this year.
With their Return, RHCP should nab a 10th U.K. top 10 appearance, a track record that includes five No. 1s.
Rounding out an all-new top five on the chart blast is U.S. band Alter Bridge’s Pawns & Kings (Napalm), at No. 3; Atlanta rapper Lil Baby’s It’s Only Me (Motown/Quality Control), at No. 4; and Dexys Midnight Runners’ Too-Rye-Ay (Mercury), a reissue of the Birmingham, England band’s sophomore album from 1982, which featured the classic single “Come on Eileen”. The LP, which peaked at No. 2 following its original release, is set to return to the top 10 for the first time in 40 years, the OCC reports.
Also charging to the top ten is English indie rock act Big Moon, with Here Is Everything (Fiction), which is on track for a career-best No. 6, while Lightning Seeds should bolt into the top tier with See You In The Stars (BMG), the Britpop era band’s first LP in 13 years. It’s set to debut at No. 7, and could become the band’s highest-charting studio album in a 32-year career.
Close behind is the Vamps’ career retrospective Ten Years Of The Vamps (UMR/Virgin), which is poised to start at No. 5, for what would be the British pop band’s fifth top 10 record.
Finally, veteran artist and production mastermind Brian Eno is on track for a career solo high with his 22nd studio album FOREVERANDEVERNOMORE (Universal Music Recordings), starting at No. 10 on the midweek chart.
All will be revealed when the Official U.K. Albums Chart is published late Friday, Oct. 21.
To celebrate the Midwestern rapper who overcame a rocky childhood to become one of rap’s biggest international sensations, we’re taking a look at Eminem’s 30 biggest hits on the Billboard Hot 100.
He may go by a handful of names — Eminem, Marshall Mathers, Slim Shady — but the rapper/producer/actor has never shied away from being himself, and only himself, sharing his trials and tribulations in his music with fans since stepping up to the mic in his teens. Along the way, the man from 8 Mile has earned seven Billboard 200 No. 1s, five Hot 100 No. 1s, countless of awards, and respect from just about everyone in hip-hop.
See below for Eminem’s top Hot 100 hits.
This chart is based on actual performance on the weekly Billboard Hot 100. Songs are ranked based on an inverse point system, with weeks at No. 1 earning the greatest value and weeks at No. 100 earning the least. Due to changes in chart methodology over the years, eras are weighted to account for different chart turnover rates over various periods.
After a staggering 91 weeks, Glass Animals‘ “Heat Waves” is now solely the longest-charting hit in the Billboard Hot 100‘s 64-year history.
On the latest Oct. 22, 2022-dated Hot 100, “Heat Waves” passes the 90-week run of The Weeknd’s “Blinding Lights” (in 2019-21), which had held the record since August 2021.
“Wow, all I can say is wow,” Glass Animals frontman Dave Bayley marveled to Billboard about the band’s feat. “Many of you know when I wrote this song I was writing about missing someone I loved very dearly. Never in my wildest dreams did I think that it would lead to so much love and connection across the globe.”
As “Heat Waves” adds a new record to its repertoire, here is a breakdown of the song’s biggest stats, as of Billboard charts dated Oct. 22, 2022.
91: Record number of weeks that “Heat Waves” has spent on the Hot 100, dating to its debut on the chart dated Jan. 16, 2021.
37: Number of weeks “Heat Waves” spent in the top 10 of the Hot 100, the fifth-most all-time, after “Blinding Lights” (57 weeks in the region), The Kid LAROI and Justin Bieber’s “Stay” (44), Dua Lipa’s “Levitating” (41) and Post Malone’s “Circles” (39).
57: Number of weeks “Heat Waves” logged in the top 20 of the Hot 100, tied for the fourth-most with “Stay,” after “Blinding Lights” (80 weeks in the tier), “Levitating” (62) and “Circles” (60).
76: Number of weeks “Heat Waves” has tallied in the top 40 of the Hot 100, the second-most after “Blinding Lights” (86).
59: The record number of weeks that “Heat Waves” took to hit No. 1 on the Hot 100, as it began a five-week domination in March.
12: The number of U.S.-specific Billboard charts on which “Heat Waves” has hit No. 1. It topped the Hot 100, Hot Rock & Alternative Songs, Hot Rock Songs, Hot Alternative Songs, Radio Songs, Alternative Airplay, Pop Airplay, Adult Pop Airplay, Alternative Streaming Songs, Alternative Digital Song Sales, Billboard Global 200 and Global Excl. U.S. charts.
37: Number of weeks that “Heat Waves” spent at No. 1 on the Hot Rock & Alternative Songs, Hot Rock Songs and Hot Alternative Songs charts. Only Panic! At the Disco’s “High Hopes” has spent more time atop Hot Rock & Alternative Songs and Hot Rock Songs (65 weeks on both). “Heat Waves” holds the record on the Hot Alternative Songs, which launched in June 2020.
3.3 billion: Total cumulative audience for “Heat Waves” on U.S. radio, according to Luminate.
1.3 billion: Total on-demand official U.S. streams for “Heat Waves,” audio and video combined.
255,000: Total U.S. downloads sold for “Heat Waves.”
11: Number of countries in Billboard‘s international charts menu in which “Heat Waves” has hit No. 1: Australia, Austria, Belgium, Canada, Czech Republic/Czechia, Germany, Iceland, Luxembourg, New Zealand, Slovakia and Switzerland.
2: Weeks that “Heat Waves” has not appeared on the Hot 100, dating to its debut. The song entered at No. 100 on Jan. 16, 2021, and fell off the ranking for two weeks, before re-entering at No. 91 that Feb. 6. The song has, thus, appeared on the Hot 100 over a span of 93 weeks since its debut. (It was released in June 2020.)
28: Total number of songs that have topped the Hot 100 since “Heat Waves” debuted on Jan. 16, 2021 (excluding “Heat Waves”). In chronological order, the leaders are 24kGoldn’s “Mood,” featuring iann dior (which was in its eighth and final week at No. 1); Olivia Rodrigo’s “Drivers License,” Drake’s “What’s Next”; Cardi B’s “Up”; Justin Bieber’s “Peaches,” featuring Daniel Caesar and Giveon; Lil Nas X’s “Montero (Call Me by Your Name)”; Silk Sonic’s “Leave the Door Open”; Polo G’s “Rapstar”; The Weeknd and Ariana Grande’s “Save Your Tears”; Rodrigo’s “Good 4 U”; BTS’ “Butter” and “Permission To Dance”; The Kid LAROI and Bieber’s “Stay”; Drake’s “Way 2 Sexy,” featuring Future and Young Thug; Coldplay and BTS’ “My Universe”; Lil Nas X and Jack Harlow’s “Industry Baby”; Adele’s “Easy On Me”; Taylor Swift’s “All Too Well (Taylor’s Version)”; Mariah Carey’s “All I Want for Christmas Is You”; Carolina Gaitán, Mauro Castillo, Adassa, Rhenzy Feliz, Diane Guerrero, Stephanie Beatriz and Encanto Cast’s “We Don’t Talk About Bruno”; Harry Styles’ “As It Was” (which dethroned “Heat Waves” upon its debut); Future’s “Wait for U,” featuring Drake and Tems; Harlow’s “First Class”; Drake’s “Jimmy Cooks,” featuring 21 Savage; Lizzo’s “About Damn Time”; Beyoncé’s “Break My Soul”; Nicki Minaj’s “Super Freaky Girl”; and Steve Lacy’s current leader “Bad Habit.”
1,266: Total number of songs that have charted on the Hot 100 alongside “Heat Waves” since its debut.
4: Total number of No. 1 hits that Drake has earned on the Hot 100 since “Heat Waves” debuted on Jan. 16, 2021, the most among all acts in that span. BTS has earned three leaders in that window, while Bieber, Future, Harlow, Lil Nas X and Rodrigo have each earned two.
60: Total number of entries that Lil Durk has tallied on the Hot 100 since “Heat Waves” debuted, the most among all acts. Drake is next with 53, followed by Lil Baby (49), YoungBoy Never Broke Again (48) and Taylor Swift (41).
66: Total number of weeks that “Heat Waves” spent on the Hot 100 alongside The Weeknd and Ariana Grande’s “Save Your Tears,” the most of any song over the former’s run on the chart. Dua Lipa’s “Levitating” follows with 64 shared weeks, then The Kid LAROI and Justin Bieber’s “Stay” (63).
12: Total number of songs to debut at No. 100 on the Hot 100 and hit No. 1. They are: Wilbert Harrison’s “Kansas City” (in 1959); Mark Dinning’s “Teen Angel” (1960); The Highwaymen’s “Michael” (1961); Steve Lawrence’s “Go Away Little Girl” (1963); Percy Sledge’s “When a Man Loves A Woman” (1966); Vicki Lawrence’s “The Night the Lights Went Out in Georgia” (1973); UB40’s “Can’t Help Falling in Love” (1993); Chris Brown’s “Kiss Kiss,” featuring T-Pain (2007); Wiz Khalifa’s “See You Again,” featuring Charlie Puth (2015); “Heat Waves”; and, as of two weeks ago, Steve Lacy’s “Bad Habit.”
3: Total number of songs to chart in the Hot 100’s history with “heat wave” in their titles. Martha & The Vandellas’ “Heat Wave” was the first in 1963 (No. 4 peak), followed by Linda Ronstadt’s cover of that classic (No. 5, 1975) before Glass Animals’ “Heat Waves.”
134 degrees Fahrenheit: The hottest recorded heat wave in history. Furnace Creek Ranch in California’s Death Valley recorded a high temperature of 134.1°F (or 58°C) on July 10, 1913, the highest ambient air temperature recorded on earth, according to the World Meteorological Organization.
Way back in 2018, Elton John launched the Farewell Yellow Brick Road Tour, billed as his final, three-year-long global trek. The announcement of his final shows has paid dividends, generating more than half a billion dollars while he plays to more than four million fans. So far, according to figures reported to Billboard Boxscore, the Farewell Yellow Brick Road Tour has grossed $661.3 million and sold 4.5 million tickets across 257 shows around the world through Oct. 9.
John has been banking millions since the tour began, but stepped on the gas after returning from a two-year COVID-19 delay. After playing 39 North American arena dates in the spring, he flew to Europe for a 19-date stadium run, and then came back stateside for more than 30 domestic stadium shows. Of those, 20 have played so far, adding $133.4 million and 830,000 tickets to the tour’s sum.
From one North American leg to another, attendance jumped by 192% to 41,513 per show, and nightly revenue increased by 160% to $6.7 million.
The 39 stadium shows that have played so far in Europe and North America have earned $202.6 million and sold 1.3 million tickets, making up 31% and 30%, respectively, of the tour’s total figures, despite accounting for just 15% of its shows.
In getting to this point, John’s goodbye run is the third tour in Boxscore history to pass the $600 million threshold, following U2’s 360 Tour, which grossed $736.4 million in 2009-11, and Ed Sheeran’s reigning champ, The Divide Tour, which earned $776.4 million from 2017 to 2019.
Sheeran’s all-time champ is an interesting comparison point, with 258 shows throughout its two-and-a-half-year run – just one more than John’s tour has played so far. In contrast to Sheeran and U2, as well as other $500 million tours by Guns ‘N Roses, The Rolling Stones and Coldplay, the Farewell Yellow Brick Road Tour has spent most of its time in arenas. While these classic rock greats made their sums quickly in 50,000-plus-capacity stadiums, John has been a road horse in 15,000-cap arenas, able to push high ticket prices in a relatively intimate setting.
The current North American leg continues with 13 more shows before its Nov. 20 close at Los Angeles’ Dodger Stadium. John continues with a 10-stadium run in Australia and New Zealand in January, plus a return to European arenas with more than 40 shows in the spring. The Farewell Yellow Brick Road Tour is scheduled to close at Stockholm’s Tele2 Arena on July 8, 2023, and with just $115 million between him and the all-time record, John soldiers on at breakneck speed.
Across his career, John has grossed $1.7 billion and sold 19.1 million tickets, becoming the highest grossing solo act in Billboard Boxscore’s three-decade-plus history.
Sam Smith and Kim Petras‘ “Unholy” posts a third week at No. 1 on both the Billboard Global 200 and Billboard Global Excl. U.S. charts, two weeks after it launched at the summit of both surveys.
The two charts, which began in September 2020, rank songs based on streaming and sales activity culled from more than 200 territories around the world, as compiled by Luminate. The Billboard Global 200 is inclusive of worldwide data and the Billboard Global Excl. U.S. chart comprises data from territories excluding the U.S.
Chart ranks are based on a weighted formula incorporating official-only streams on both subscription and ad-supported tiers of audio and video music services, as well as download sales, the latter of which reflect purchases from full-service digital music retailers from around the world, with sales from direct-to-consumer (D2C) sites excluded from the charts’ calculations.
‘Unholy’ Atop Global 200 for Third Week
Sam Smith and Kim Petras’ “Unholy” claims a third week at No. 1 on the Billboard Global 200, with 81.5 million streams (down 2%) and 18,000 downloads sold worldwide (up 9%) in the Oct. 7-13 tracking week.
Notably, songs by acts all from outside the U.S. have topped the Global 200 for 34 consecutive weeks, spanning seven titles (and five countries), both record streaks since the chart began. Here’s a recap:
“Heat Waves,” Glass Animals (U.K.), six weeks at No. 1, beginning March 5“As It Was,” Harry Styles (U.K.), 15, April 16“Running Up That Hill (A Deal With God),” Kate Bush (U.K.), three, June 18“Bzrp Music Sessions, Vol. 52,” Bizarrap (Argentina) & Quevedo (Spain), four, July 30“Pink Venom,” BLACKPINK (South Korea), two, Sept. 3“Shut Down,” BLACKPINK (South Korea), one, Oct. 1“Unholy,” Sam Smith (UK) & Kim Petras (Germany), three to-date, Oct. 8
The Global 200’s top five holds in place, with David Guetta and Bebe Rexha’s “I’m Good (Blue)” at its No. 2 high; Harry Styles’ “As It Was” at No. 3 following its record 15-week reign; Chris Brown’s “Under the Influence” at its No. 4 best; and OneRepublic’s “I Ain’t Worried” at its No. 5 highpoint.
Elsewhere in the Global 200’s top 10, Steve Lacy’s “Bad Habit” rebounds to its No. 10 best, from No. 12, up 3% to 37.6 million streams worldwide. It previously spent a week in the region on the Aug. 27 chart.
Smith, Petras Continue Atop Global Excl. U.S.
Sam Smith and Kim Petras’ “Unholy” concurrently logs a third week at No. 1 on the Billboard Global Excl. U.S. chart, with 59.3 million streams (down 2%) and 6,000 downloads sold (up 8%) worldwide in territories outside the U.S. in the Oct. 7-13 tracking week.
Similar to the Global 200, songs by acts from outside the U.S. have dominated the Global Excl. U.S. chart for 32 weeks in a row, covering nine titles (and six countries), likewise record streaks:
“Heat Waves,” Glass Animals (U.K.), three weeks at No. 1, beginning March 19“Envolver,” Anitta (Brazil), one, April 9“As It Was,” Harry Styles (U.K.), 13, April 16“Yet To Come,” BTS (South Korea), one, June 25“Running Up That Hill (A Deal With God),” Kate Bush (UK), one, July 16“Bzrp Music Sessions, Vol. 52,” Bizarrap (Argentina) & Quevedo (Spain), six, July 30“Pink Venom,” BLACKPINK (South Korea), three, Sept. 3“Shut Down,” BLACKPINK (South Korea), one, Oct. 1“Unholy,” Sam Smith (U.K.) & Kim Petras (Germany), three to-date, Oct. 8
The Global Excl. U.S. top five is stationary, with David Guetta and Bebe Rexha’s “I’m Good (Blue)” at its No. 2 best; Manuel Turizo’s “La Bachata” at its No. 3 high; Harry Styles’ “As It Was” at No. 4 following its record 13-week rule; and Bizarrap and Quevedo’s “Bzrp Music Sessions, Vol. 52” at No. 5, after it reigned for six weeks.
The Billboard Global 200 and Billboard Global Excl. U.S. charts (dated Oct. 22, 2022) will update on Billboard.com tomorrow (Oct. 18). For both charts, the top 100 titles are available to all readers on Billboard.com, while the complete 200-title rankings are visible on Billboard Pro, Billboard‘s subscription-based service. For all chart news, you can follow @billboard and @billboardcharts on both Twitter and Instagram.
Luminate, the independent data provider to the Billboard charts, completes a thorough review of all data submissions used in compiling the weekly chart rankings. Luminate reviews and authenticates data. In partnership with Billboard, data deemed suspicious or unverifiable is removed, using established criteria, before final chart calculations are made and published.
