Chart Beat
Page: 49
On Sept. 28, 2002, Diamond Rio’s “Beautiful Mess” began a two-week run at No. 1 on Billboard’s Hot Country Songs chart, marking the group’s fourth leader.
The song was written by Sonny LeMaire (of Exile), Clay Mills and Shane Minor. It was released as the lead single from Diamond Rio’s album Completely, which also generated the act’s fifth and most recent No. 1 single, “I Believe.”
In April 1990, Diamond Rio (formerly known as The Grizzly River Boys, then The Tennessee River Boys), signed with Arista Records Nashville. The group then was comprised of lead vocalist Marty Roe, Gene Johnson, Jimmy Olander, Brian Prout, Dan Truman and Dana Williams.
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In June 1991, Diamond Rio’s debut Hot Country Songs entry, “Meet in the Middle,” hit No. 1 – making the act the first group to reign with a rookie single. The band has notched 19 career top 10s, including its other leaders “How Your Love Makes Me Feel” in 1997 and “One More Day” in 2001. The group has tallied 29 top 40 entries, through the No. 30 hit “God Only Cries” in 2006.
Said Oleander to Billboard in 2014 of Diamond Rio’s early ‘90s breakthrough, “I see these guys in these fantastic coiffed mullets and I remember the idealism that we had — ‘We’re going to do this. We’re going to reinvent that’ — and all that stuff. I’d do the same all over again.”
In 2022, Diamond Rio underwent its first lineup change in 33 years, as drummer Prout retired and was replaced by Micah Schweinsberg (formerly of gospel act The Crabb Family). Later that year, vocalist/mandolinist Johnson announced his departure from the group to focus his efforts in bluegrass.
Currently on the road, Diamond Rio makes its next stop in Wharton, Texas, on Sept. 29.
Linkin Park’s “The Emptiness Machine” bounds two spots to No. 1 on Billboard’s Alternative Airplay and Mainstream Rock Airplay charts dated Oct. 5.
The song reigns in just its third week on both lists. It completes the quickest trip to No. 1 on Alternative Airplay in nearly two years, dating to the three weeks that Blink-182’s “Edging” took in November 2022. On Mainstream Rock Airplay, it’s the fastest since Metallica’s “Lux Æterna” needed only two weeks in December 2022.
Linkin Park now boasts 13 No. 1s on Alternative Airplay, tying Green Day for the second-most rulers since the chart began in September 1988.
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Most No. 1s, Alternative Airplay:
15, Red Hot Chili Peppers
13, Green Day
13, Linkin Park
12, Cage the Elephant
12, Foo Fighters
10, Twenty One Pilots
8, U2
8, Weezer
7, The Black Keys
7, Imagine Dragons
Linkin Park first reigned in 2001-02 with “In the End.” Prior to “The Emptiness Machine,” it most recently led with “Lost,” for six weeks in March-May 2023. In between its two latest No. 1s, the group’s “Friendly Fire” hit No. 2 this April.
On Mainstream Rock Airplay, “The Emptiness Machine” is Linkin Park’s 11th No. 1, giving the group sole possession of the ninth-most leaders since the chart first published in 1981. The act first led with “Somewhere I Belong” in 2003.
Most No. 1s, Mainstream Rock Airplay:
19, Shinedown
17, Three Days Grace
15, Five Finger Death Punch
14, Foo Fighters
14, Metallica
13, Godsmack
13, Van Halen
12, Disturbed
11, Linkin Park
“The Emptiness Machine” is part of a streak of three No. 1s in a row on the chart for Linkin Park, following “Lost” and “Friendly Fire.” It’s the first such run for the band, after it strung together two straight leaders twice.
Concurrently, “The Emptiness Machine” tops the all-rock-format, audience-based Rock & Alternative Airplay chart for a third week via 8.6 million audience impressions in the week ending Sept. 26, up 8%, according to Luminate.
The song ruled the most recently published multimetric Hot Hard Rock Songs chart (dated Sept. 28, reflecting the tracking week of Sept. 13-19); in addition to its radio airplay, it earned 8.4 million official U.S. streams and sold 3,000 in that span.
“The Emptiness Machine” is the lead single from From Zero, Linkin Park’s eighth studio album, due Nov. 15. It’s the band’s first full-length with new co-singer Emily Armstrong and drummer Colin Brittain, following the death of singer Chester Bennington in 2017 and departure of longtime drummer Rob Bourdon.
All Billboard charts dated Oct. 5 will update on Billboard.com on Tuesday, Oct. 1.
Luke Combs claims a second week at No. 1 on Billboard’s Country Airplay chart (dated Oct. 5) with “Ain’t No Love in Oklahoma.” The song increased by 2% to 30.7 million audience impressions Sept. 20-26, according to Luminate.
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Co-authored by Combs, the hit from the soundtrack Twisters: The Album is the 13th of his 18 Country Airplay leaders to dominate for multiple weeks – and marks another notable career achievement: Combining all his No. 1s, he has now spent more than a year – 53 weeks – at the summit. Kenny Chesney has logged the most weeks at No. 1 (83), dating to the chart’s 1990 start, followed by Tim McGraw (80), George Strait (66), Alan Jackson (60), Blake Shelton (57), Toby Keith and Combs (53 each).
“I’m really blown away,” Combs tells Billboard. “The support from country radio for my music and fans has always been more than I ever could have imagined. I’ve always known they were huge supporters of my music but this proves it in more ways than one.
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“I never thought I would get one week at No. 1, but when I did, I felt like I had won the lottery,” Combs marvels. “So, for my songs to have spent a full year at No. 1 with guys I grew up listening to and admiring is more than I could have ever dreamed of. Thank you, country radio, for letting this young man from North Carolina, who most had never heard of when y’all started playing my music, live out his dreams and do what he loves.”
Combs’ longest-leading Country Airplay No. 1 is “Beautiful Crazy,” which posted a seven-week command beginning in March 2019, followed by “Forever After All” (six weeks, starting in June 2021) and “Fast Car” and “Even Though I’m Leaving” (five each, beginning in July 2023 and November 2019, respectively).
Says Tom Oakes, SummitMedia operations manager and program director of Country Airplay reporter KTTS in Springfield, Mo., Combs’ success “is a testament to his ability to relate to the audience. He comes across as an everyday guy working hard to make his mark, raise a family and overcome the challenges life serves up. It comes through his songs, which speak to listeners on a level which they experience and live every day, whether it’s a serious or more dramatic theme, or just flat-out fun.
“At the core of his staying power is his ability to consistently appeal to listeners, as seen through long-term positive research on his music and his success on the concert circuit,” Oakes adds. “‘Oklahoma’ is different production-wise, as it is a straight-out rocker. Whatever he comes with next will likely be different in style and fresh-sounding.”
Sabrina Carpenter love the taste of chart victory. The U.S. pop artist and actor leads Australia’s charts once more with “Taste” and Short n’ Sweet, respectively.
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When the ARIA Singles Chart was published late Friday, Sept. 27, “Taste” was on top for the fifth straight week, lifting her total number of weeks at No. 1 this year to eight – more than any other artist. The next best is Benson Boone, with six total weeks at the ARIA Chart summit, all clocked up by “Beautiful Things.”
With “Taste” in the lead, the podium is closed out by Lady Gaga and Bruno Mars’ “Die With A Smile” and Shaboozey’s “A Bar Song (Tipsy),” respectively.
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Over on the ARIA Albums Chart, Short n’ Sweet logs a fourth non-consecutive week at No. 1, ahead of Katy Perry’s new arrival 143, dropping in No. 2.
That’s Perry’s fifth top 10 album following Teenage Dream (No. 1 for two weeks in 2010), Prism (No. 1 for one week in 2013), Witness (No. 2 in 2017) and her recent LP Smile, which peaked at No. 2 in 2020.
Meanwhile, Keith Urban swings in with High, new at No. 3. The Aussie country star played a surprise gig in his hometown Brisbane, ahead of the release of High, his 11th studio effort. He’ll return in the second-half of 2025 for a major arena jaunt.
A six-time ARIA Award-winner, Urban previously hit No. 1 on the ARIA Chart with The Story So Far (in 2012), Fuse (2013), Ripcord (2016) and The Speed Of Now Part 1 (2020).
Also new to the top tier is homegrown indie band The Rubens, new No. 4 with SODA, their sixth album. SODA is the band’s fifth top 10 appearance after 2012’s self-titled debut (peaking at No.3), 2015’s Hoops (No. 2), 2018’s Lo La Ru (No. 3) and 2021’s 0202 (No. 1 for one week).
The Rubens have collected a brace of ARIA Awards, and in January 2016 won triple j’s Hottest 100 countdown with “Hoops.”
BOYNEXTDOOR achieves its third consecutive top 10 on Billboard’s Top Album Sales chart, as the act’s latest release, 19.99, arrives at No. 4. The set sold 16,500 copies in the U.S. in the week ending Sept. 19, according to Luminate. With the debut, the act nets its highest charting album and best sales week.
Also in the top 10 of the latest Top Album Sales chart, Travis Scott’s Days Before Rodeo rallies 25-1 after its vinyl editions were shipped to customers, Eminem’s The Death of Slim Shady (Coup de Grâce) re-enters at No. 2 after its deluxe reissue and CD release, Miranda Lambert’s Postcards From Texas opens at No. 3, keshi’s Requiem arrives at No. 7, Jack White’s No Name re-enters at No. 8 after its wide physical release, and the Hazbin Hotel, Season One soundtrack debuts at No. 10 after its vinyl release.
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 X, formerly known as Twitter, and Instagram.
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Of the 16,500 copies sold of 19.99 in its first week, physical album sales comprise nearly all of that sum – and all on CD. Its sales were bolstered by the album’s availability across more than 15 collectible CD editions, all containing collectible branded paper ephemera.
Travis Scott’s 2014 mixtape Days Before Rodeo rallies 25-1 in its fourth week on the list, for its second week on top. (It debuted atop the list.) The album sold 150,000 copies in the tracking week (up 4,608%) after its vinyl editions – exclusively sold through Scott’s webstore – shipped to customers. Vinyl sales comprise 149,000 of that sales figure – Scott’s largest week on vinyl ever. It’s also the biggest week on vinyl for a rap album, as well as the sixth-largest week on vinyl across all genres, since Luminate began tracking sales in 1991.
The vinyl sales pushing Scott to No. 1 began generating pre-orders via his official webstore before the album was released on Aug. 23 via streamers, as a digital download and on CD. It was available in two vinyl variants (a standard edition and a deluxe edition in expanded packaging), as well as two boxed sets (one containing a hoodie and the standard vinyl and one with a T-shirt and the deluxe vinyl), and in two Fan Pack offers (one with a hoodie and the standard vinyl and one with a T-shirt and the deluxe vinyl).
A wide retail release beyond Scott’s webstore for any physical formats of the album has not been announced.
Eminem’s The Death of Slim Shady (Coup de Grâce) re-enters the chart at No. 2 (matching its debut and peak), following its deluxe reissue and CD release. The album was reissued via digital download services on Sept. 13 with bonus tracks, while on the same day its original standard album was issued in two CD variants. It sold 24,000 (up 3,328%) across all of its configurations (all versions are combined for tracking and charting purposes).
Miranda Lambert logs her ninth top 10, all tallied consecutively, as her new studio album Postcards From Texas, taps in at No. 3 with 19,000 sold. Its first week sales were aided by the set’s availability across four vinyl variants (including a signed edition), three CD editions (including a signed version) and a download album.
Sabrina Carpenter’s Short n’ Sweet is steady at No. 5 on Top Album Sales (14,500; down 6%) while Chappell Roan’s The Rise and Fall of a Midwest Princess rises 7-6 (13,000; up 25%).
Requiem, from keshi, debuts at No. 7 with nearly 10,500 sold, marking the second top 10-charting effort for the artist. The album’s sales were bolstered by its availability across six vinyl variants (including a signed edition) and a signed CD edition.
Jack White’s No Name returns to the top 10, re-entering the chart at No. 8 (matching its debut and peak position), following its wide vinyl release on Sept. 13. The album sold a little more than 10,000 copies in the tracking week ending Sept. 19 – its best sales week yet – earning a 695% gain over the previous week.
Stray Kids’ chart-topping ATE is a non-mover at No. 9 on Top Album Sales, with nearly 9,000 sold (up 8%).
Rounding out the top 10 is the debut of the Hazbin Hotel, Season One soundtrack, entering at No. 10 with 8,500 sold. Nearly all of that sum is from vinyl sales, as the album made its vinyl debut on Sept. 13 after only being available to purchase as a digital download.
Karol G tallies a second week at No. 1 spot on the Billboard Argentina Hot 100 chart as “Si Antes Te Hubiera Conocido” holds atop the ranking (dated Sept. 28). She is just the third woman in a solo role to rule the chart in 2024, after Tini and Nicki Nicole, whose “Pa” and “Ojos […]
Julión Álvarez y Su Norteño Banda are back in the top 10 on Billboard’s Hot Latin Songs chart with “Rey Sin Reina,” which soars 26-8 on the Sept. 28-dated list. The group last rose to the upper region with “El Amor de Su Vida” in 2015.
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“Rey Sin Reina” lands at No. 8 on Hot Latin Songs thanks largely to its streaming activity during the tracking week ending Sept. 19. According to Luminate, the song earned 4.1 million official U.S. streams, a gain of 57%, from the week prior. Hot Latin Songs is a multimetric list that blends streams, digital sales and radio activity to rank the week’s most popular Latin songs in the U.S.
The streaming sum also yields a No. 10 debut on Latin Streaming Songs, the group’s first top 10 there among its five entries. Prior, the Mexicans reached their highest ranking in 2015, through the No. 14-peaking “El Amor De Su Vida.”
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As “Rey Sin Reina” leaps 18 slots in its second week, it becomes the second-biggest jump to the top 10 on Hot Latin Songs in 2024. Karol G’s “Contigo” with Tiesto, released Feb. 15, debuted at No. 48 with only one day of activity, the last day of the previous tracking week, and rallied to No. 3 in March, after its first full tracking week. Only one other song has climbed at least 15 positions into the top 10 or more this year: Tito Double P’s “El Lokeron” rallied 27-7 last week (chart dated Sept. 21).
On a global scale, “Rey Sin Reina” debuts at No. 112 on the Billboard Global 200 and at No. 93 on Global Excl. U.S., the group’s highest debuts on both charts.
“Rey Sin Reina,” composed by Omar Cárdenas and Tláloc Noriega, is one of four tracks on Julión Álvarez y Su Norteño Banda’s latest EP Atento Aviso… Rey Sin Reyna, which rises 22-20, a new peak, on Regional Mexican Albums on the current ranking. The album’s animated artwork was designed by Álvarez’s daughters, María Isabel and María Julia.
Billboard Latin Music Week is returning to Miami Beach on Oct. 14-18, with confirmed superstars including Gloria Estefan, Alejandro Sanz and Peso Pluma, among many others. For tickets and more details, visit Billboardlatinmusicweek.com.
For the sixth consecutive month, Zach Bryan has one of the 10 biggest tours in the world. For the second of the last three, he’s at No. 1. According to figures reported to Billboard Boxscore, Bryan grossed $93.2 million and sold 467,000 tickets from 13 shows around the U.S., returning to the top of Billboard’s monthly Top Tours chart.
When Bryan topped the list in June, Billboard noted that he was only the second country act to rule the tally since it launched in early 2019, following Morgan Wallen. Now, he’s the only artist in his genre to claim multiple months at No. 1. Bad Bunny and Elton John lead overall, each having topped seven monthly charts.
Bryan kicked off The Quittin’ Time Tour in March at a string of North American arenas. By the end of May and into June, he began sprinkling in stadium plays, multiplying his potential nightly audience by three or four and prompting his first monthly win. In August, stadiums made up the majority of his calendar — for 10 of his 13 shows. Those were spread across major markets such as Atlanta, Philadelphia and Minneapolis, leaving only Kansas City and Grand Forks, N.D., in arenas.
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This transition from indoor basketball courts to outdoor football fields joins Bryan with fellow country superstars such as Luke Combs and Wallen as well as the biggest of the big beyond genre, like The Rolling Stones and Taylor Swift.
A double-header at Philly’s Lincoln Financial Field earned the biggest gross of Bryan’s career. The Aug. 6-7 stay earned $20.7 million and sold 103,000 tickets, followed immediately by another six-digit attendance total at Atlanta’s Mercedes-Benz Stadium on Aug. 10-11 ($17.8 million; 100,000 tickets).
Since beginning in Chicago on March 5, The Quittin’ Time Tour has grossed $318.1 million and sold 1.6 million tickets. Bryan will resume the trek with 18 shows in November and December. Most of his remaining 2024 dates bring him back to arenas, which means he could add another $60 million by year’s end, approaching the $400 million mark.
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Bryan’s summer on top was briefly interrupted by Coldplay’s July victory. This month, Chris Martin & Co. dip to No. 2, with a gross of $86.4 million from 626,000 tickets sold. Though the band misses Bryan’s high mark by about 7%, its attendance total is tops for August.
As has been customary amid the Music of the Spheres World Tour, Coldplay’s August schedule was compact, including three shows in Munich, four in Vienna and two in Dublin. The extended run at Vienna’s Ernst Happen Stadion on Aug. 21-22 and 24-25 is both the highest grossing ($33 million) and bestselling engagement of the month (251,000 tickets).
As Billboard reported, The Music of the Spheres World Tour is already the highest grossing and bestselling rock tour in Boxscore history, with $1.06 billion and 9.6 million tickets sold through Sept. 2. Next on its record-breaking schedule is the 10 million ticket threshold, which will certainly clear during the Australia and New Zealand leg in October and November.
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Metallica follows at No. 3 on August’s Top Tours chart with $74 million and 621,000 tickets. The latter figure barely misses Coldplay’s ticket sales, separated by just 5,000 tickets, or less than 1%. The hard-rock legends sport two appearances in the top 10 of Top Boxscores, at Nos. 8-9 with stints at Foxborough’s Gillette Stadium and Chicago’s Soldier Field, respectively.
At No. 4, P!nk is the lone woman in August’s top 10 at $55.6 million and 329,000 tickets, next followed by Jhene Aiko’s $16.3 million and 150,000 tickets. While gender representation can be marked by the whims of monthly schedules – there were five women on the charts for June and July, and September marks the launches of major treks by Sabrina Carpenter, Charli XCX and Billie Eilish – it’s startling to see women make up less than 7% of August’s top-30 pie.
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Interrupting Coldplay’s sweep of Top Boxscores, Outside Lands Music and Arts Festival is No. 2. The San Francisco festival grossed $29.5 million and sold 184,000 tickets across its Aug. 9-11 run.
Outside Lands is joined by Montreal’s Osheaga Music & Arts Festival, which rounds out the chart’s top 10 with $14.7 million and 137,000 tickets sold. It’s one of a string of festivals, along with Ilesoniq and Lasso Montreal, that pushed Evenko to No. 5 on the month’s Top Promoters ranking.
On the venue rankings, it’s the fourth consecutive win for Sphere among rooms with a capacity of 15,001 or more (excluding stadiums). Again, Dead & Company ushered the immersive arena to its victory, which closed out its summer-long residency on Aug. 10.
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A week after its strong No. 2 debut on the TikTok Billboard Top 50 chart dated Sept. 21, BabyChiefDoit’s “Rollin’” is the ranking’s latest No. 1, lifting 2-1 on the tally dated Sept. 28.
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The TikTok Billboard Top 50 is a weekly ranking of the most popular songs on TikTok in the United States based on creations, video views and user engagement. The latest chart reflects activity from Sept. 16-22. Activity on TikTok is not included in Billboard charts except for the TikTok Billboard Top 50.
“Rollin’” reigns thanks largely to lip-synchs set to the song’s “Don’t slip, don’t trip, don’t fall/ Come to the crib and take off your drawers” lyric, as well as a dance.
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In the latest Billboard chart tracking week ending Sept. 19, “Rollin’” earned 1.1 million official U.S. streams, a gain of 135%, according to Luminate. So far, the TikTok Billboard Top 50 is the only chart on which the song appears, and it became BabyChiefDoit’s first Billboard appearance overall upon its Sept. 21 bow.
Like many of the chart’s top-performing songs these days, some of the highest ranking TikTok uploads using “Rollin’” also set the song to footage from the Nickelodeon live action series Henry Danger, which aired between 2014-20. The song that originally sparked the trend of Henry Danger-related memes, Ashanti’s “Rain on Me,” concurrently remains at its No. 5 peak.
Alphaville’s 1984 single “Forever Young” follows “Rollin’,” leaping 7-2 for a new peak after previously rising as high as No. 4. The song, which eventually rose as high as No. 65 on the Billboard Hot 100 four years after its release in 1988, has fluctuated on the TikTok Billboard Top 50 the past month; after debuting at No. 50 on the Aug. 3 survey, it initially broke into the top 10 the following week and then rose into the top five on the Sept. 7 list.
Trends involving “Forever Young” have ranged from one where one person lifts the other in the air and spins them around while water sprays down on top of them from a bottle, to general content about getting older and reminiscing about one’s younger days, to edits of content about fictional characters who passed on early in their respective universes.
IV of Spades’ “Come Inside of My Heart” ranks at No. 3, jumping into the top 10 after debuting at No. 13 on the Sept. 21 tally. The song was released as part of IV of Spades’ 2019 album CLAPCLAPCLAP! and has largely been used in general viral content rather than with a major throughline trend. The track concurrently jumps 63% to 215,000 streams in the week ending Sept. 19.
Jack Johnson’s “Upside Down,” which peaked at No. 38 on the Hot 100 in 2006, debuts at No. 4 on the latest TikTok Billboard Top 50. Written for that year’s film Curious George, Johnson’s fan favorite nabs a place on the survey with a two-person trend in which one person flips the other upside down – with varying results.
Now that the TikTok Billboard Top 50 has existed for a year, celebrating its first birthday two weeks ago, the chart is sure to see songs connected to or affiliated with certain times of the year make what could be an annual return. This week, it’s Earth, Wind & Fire’s “September,” which re-enters at No. 13.
“September,” which spikes in all music-related consumption every year due to its opening Sept. 21-related lyric (“do you remember/ the 21st night of September”), debuted at No. 3 on the TikTok Billboard Top 50 dated Sept. 30, 2023. It’s back for another round via dances, lip synchs, sketches and other uploads celebrating the track’s yearly bump in attention, 45 years after it peaked on the Hot 100 at No. 8 in February 1979.
As the TikTok Billboard Top 50 tracked the Sept. 16-22 period, overall gains for “September” on the rest of the Billboard charts will be known on the Oct. 5-dated tallies, which comprise the Sept. 20-26 tracking week.
See the full TikTok Billboard Top 50 here. You can also tune in each Friday to SiriusXM’s TikTok Radio (channel 4) to hear the premiere of the chart’s top 10 countdown at 3 p.m. ET, with reruns heard throughout the week.
Hinatazaka46’s “Zettaiteki Dairokkan” blast in at No. 1 on the Billboard Japan Hot 100, dated Sept. 25.
The J-pop girl group’s 12th single sold 546,483 copies in its first week to rule sales, while coming in at No. 16 for downloads, No. 98 for radio airplay, and No. 82 for video views to take the top spot on the Japan Hot 100 by a narrow margin. The single is Hinatazaka46’s seventh No. 1 hit and the first since “Bokunanka,” which topped the tally in June, 2022.
Mrs. GREEN APPLE’s “Lilac” rises a notch to No. 2 this week. Streams for the former No. 1 hit are up 104% from the week before, while downloads are up 124%, video up 108%, and karaoke up 110%. The track has been cruising along at No. 1 for streaming for 14 consecutive weeks, and also tops video for the fourth. Total streams for the track is currently at 249,797,859, and is expected to sail past the 250 million mark next week.
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The three-man pop band released the film Mrs. GREEN APPLE // The White Lounge in CINEMA in theaters on Sept. 13, which may be why the group’s catalog has climbed the chart this week. 15 songs are charting on the Japan Hot 100, with 13 including “Que Sera Sera,” “Ao to Natsu,” and “Dance Hall” increasing in points from the previous week.
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Last week’s No. 1 song, back number’s “to new lovers,” drops to No. 3 this week. While points for sales are down following the CD release week, streams have shown only a slight decrease (97%), and karaoke is on the rise (117%).
Three songs including this week’s chart-topper debuted in the top 10 this week. Pandadragon’s major label debut single “Night Before A Dance” bows at No. 5 and FRUITS ZIPPER’s “NEW KAWAII” at No. 10.
Outside the top 10, Kenshi Yonezu’s “Sayonara, Mata Itsuka!” jumps four rungs this week, probably because the highly acclaimed historical legal drama it serves as the theme — Tora ni Tsubasa — is ending this week and a special program focusing on the series and the hitmaker’s songwriting (Tora ni Tsubasa x Kenshi Yonezu Special) recently aired. Downloads for the former No. 2 hit nearly doubled (1.9 times) compared to the week before.
The Billboard Japan Hot 100 combines physical and digital sales, audio streams, radio airplay, video views and karaoke data.
See the full Billboard Japan Hot 100 chart, tallying the week from Sept. 16 to 22, here. For more on Japanese music and charts, visit Billboard Japan’s English X account.