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Gracie Abrams‘ breakout hit “That’s So True” has secured a seventh non-consecutive week at No. 1 on the Official Singles Chart (Jan. 10). “That’s So True” first hit the top spot back in November and lasted at the summit for five consecutive weeks into mid-December until Wham!’s festive classic “Last Christmas” interrupted her run at […]

Koe Wetzel and Jessie Murph’s “High Road” rules Billboard’s Country Airplay chart (dated Jan. 18) for a fourth total and consecutive week. The collaboration drew 32.2 million in audience (down 1%) Jan. 3-9, according to Luminate.

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The song became the first Country Airplay No. 1 for both Wetzel, 32, and Murph, 20, in each artist’s initial trip up the tally. It is the first freshman track to reign for four or more weeks since Shaboozey’s “A Bar Song (Tipsy),” which commenced its seven-week command last August, the longest for a breakthrough hit at the format. Overall, only 10 country career-establishing No. 1s have led for four-plus weeks since the list started in 1990 – with “High Road” the first by two acts each charting for the first time.

Wetzel and Murph co-wrote “High Road” with Amy Allen, Carrie K, Josh Serrato, Gabe Simon and Laura Veltz. It’s from Wetzel’s album 9 Lives, which became his fourth top 10 on Top Country Albums when it opened at its No. 5 best last August. It’s also on Murph’s That Ain’t No Man That’s the Devil, which arrived at its No. 24 high on the all-genre Billboard 200 in September.

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Meanwhile, Murph, who hails from Huntsville, Ala., is the first woman to dominate Country Airplay for four or more weeks with an introductory hit at the format in almost 19 years. On Jan. 21, 2006, then-reigning American Idol champ Carrie Underwood began a six-week No. 1 stay with her launch single promoted to country radio, “Jesus, Take the Wheel.”

That’s One High ‘Bar’

Shaboozey’s “A Bar Song (Tipsy)” ranks at No. 5 on Country Airplay (22.9 million, down 3%), adding a record-tying 28th week in the top 10. It matches Dustin Lynch’s 2021-22 hit “Thinking ‘Bout You,” featuring MacKenzie Porter, for the longest top 10 run in the chart’s history.

What sonic characteristics led to The Weeknd’s “Blinding Lights” claiming the No. 1 spot on Billboard’s Top Hot 100 Songs of the 21st Century chart?
In 2021, Hit Songs Deconstructed, which provides in-depth analysis of Billboard Hot 100 top 10 hits, held its Max Martin Deconstructed Masterclass, led by Hit Songs Deconstructed co-founder Dave Penn. Martin co-wrote and co-produced “Blinding Lights” (with The Weeknd, among others), which contributed to his 27 No. 1s as a writer and record 25 leaders as a producer.

“Blinding Lights” led (LED?) the Hot 100 for four weeks in 2020, logged a record 57-week in the top 10 and charted for a dazzling 90 weeks total.

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Class is in session again (spit out your gum): Here’s a reprinted rundown, according to Penn’s insights as presented in 2021, of the songwriting and production elements and more that helped “Blinding Lights” beam brighter than any other song on the Hot 100 over the first 25 years of the century.

David Penn of Hit Songs Deconstructed: “Like most hits, ‘Blinding Lights’ features a meticulous combination of the typical and the atypical, which helps the song sound familiar to people while still standing out from the pack. But when it comes to this song, it’s really the writing and production team’s stellar arrangement techniques, along with Max Martin’s melodic genius, that make it such an interesting and captivating hit.

“For instance, its 28-second intro is almost unheard of currently; the average [intro on a] Hot 100 top 10 in 2020 was just 13 seconds. So, it really comes down to the way that the ‘Blinding Lights’ team arranged the intro to keep the listener engaged, all while establishing many key aspects of the song, including its atypical instrumental hook; most hooks in today’s hits are vocal.

“Another atypical quality is its, what I call, disappearing chorus. While many top 10 hits give the listener more chorus as a song progresses, the ‘Blinding Lights’ creators actually shorten the chorus as the song progresses. Like with everything else, there is purpose behind this. In this case, it makes the listener long to hear that full chorus again and return for another listen.

“Also, the song’s 1980s-influenced production qualities, a la ‘Take On Me’ by a-ha, come across as new and fresh to younger audiences while creating a sense of nostalgia for older audiences, which ultimately broadens the song’s reach across demographics.

“But perhaps the song’s most notable quality is the expert use of motifs and hook foreshadowing techniques that take its catchiness and memorability to the next level, whether the listener realizes it or not. This is a hallmark of Max Martin’s melody writing throughout his career. For example, the synth hook in the intro melodically foreshadows lines two and four of the chorus vocal melody. And the verse that follows rhythmically foreshadows lines one and three of the chorus.

“So, by the time listeners arrive at the first chorus, they’re already familiar with the entire melody, which makes it that much easier for them to sing along and remember it. And this goes on throughout the entire song; almost every line relates to some other line in the song, which gets it ingrained in the listener’s head without ever becoming monotonous.

“Along with promotional factors, these are just of a few of the many qualities that helped ‘Blinding Lights’ achieve its mass success.”

Browse Billboard’s Top Hot 100 Songs of the 21st Century chart, Top Artists of the 21st Century chart and Top Billboard 200 Albums of the 21st Century chart, as well as all coverage of Billboard’s 21st Century charts here.

Billboard’s Top Artists, Top Billboard 200 Albums and Top Hot 100 Songs of the 21st Century recaps reflect performance on weekly charts dated Jan. 1, 2000, through Dec. 28, 2024. The Top Artists category ranks the best-performing acts in that span based on activity on the Billboard 200 and Hot 100. (Titles released prior to mid-1999 are excluded, although such entries that appeared on the Billboard 200 or Hot 100 in that span contribute to the calculation of the Top Artists chart.)

The Weeknd’s “Blinding Lights” shines brightly as the No. 1 hit on Billboard’s recap of the first 25 years of the 21st century, leading Billboard’s Top Hot 100 Songs of the 21st Century chart. The survey is based on performance on the Billboard Hot 100 songs chart from the start of 2000 through the end […]

Rosé and Bruno Mars’ are making chart history with their duet “APT.,” which continues its reign at No. 1 on the ARIA Singles Charts for its ninth non-consecutive week. The track now holds the title of the longest-running No. 1 duet since Elton John and Dua Lipa’s “Cold Heart (PNAU Remix)” dominated for 10 weeks back in 2020-21.

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The milestone cements “APT.” as one of the most iconic duets of the decade, holding its own amidst fierce competition from Gracie Abrams’ emotional anthem “That’s So True” and Mariah Carey’s holiday staple “All I Want For Christmas Is You,” which had a brief resurgence during the festive season.

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Sabrina Carpenter is also celebrating a landmark moment with her album Short n’ Sweet. The record has now notched nine non-consecutive weeks at the top of the ARIA Albums Chart, making it the longest-running No. 1 album by a female artist since Taylor Swift’s 1989 (Taylor’s Version) held the spot for 14 weeks in 2023-24. Excluding Taylor’s catalog, Carpenter’s achievement is unmatched by a solo female artist since Adele’s 21, which spent an incredible 32 weeks at No. 1 in 2010-11. The only longer recent run by a female artist was Lady Gaga’s A Star Is Born soundtrack, credited alongside Bradley Cooper, which logged 11 weeks at No. 1 in 2018-19. Carpenter’s success with Short n’ Sweet is a testament to her growing dominance in the global pop scene.

The ARIA Singles Chart is also spotlighting emerging talent this week. British DJ Chrystal has broken into the top 10 for the first time with her remix of “The Days (Notion Remix),” which leaps from No. 18 to No. 7. Meanwhile, SZA continues to thrive with “BMF,” a fresh track from the new Lana edition of her 2022 album SOS. The song rises from No. 27 to No. 17 as the SOS album itself holds strong at No. 2 on the Albums Chart.

Morgan Wallen makes waves on the Singles Chart with his newest release “Smile,” which debuts at No. 36. The track, his third single from his upcoming fourth album, marks Wallen’s seventh top 50 hit in Australia and adds to his growing country-pop repertoire, which includes chart-toppers like “Last Night” and “I Had Some Help” featuring Post Malone.

Over on the Albums Chart, Lil Baby’s Wham debuts at No. 42, becoming his third solo album to chart in Australia. Previous entries include My Turn (No. 20 in 2020) and It’s Only Me (No. 7 in 2022), along with his collaborative effort with Lil Durk, The Voice Of The Heroes (No. 20 in 2021).

The top albums of the week are led by Sabrina Carpenter’s Short n’ Sweet in first place, followed by SZA’s SOS, Billie Eilish’s Hit Me Hard And Soft, the Wicked movie soundtrack featuring Cynthia Erivo and Ariana Grande, and Taylor Swift’s The Tortured Poets Department.

After dropping to No. 2 on the TikTok Billboard Top 50 for a week amid holiday-related gains (punctuated by the reign of Wham!’s “Last Christmas”), M.I.A.’s “Paper Planes” returns to No. 1 on the chart dated Jan. 11.

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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 Dec. 30-Jan. 5. Activity on TikTok is not included in Billboard charts except for the TikTok Billboard Top 50.

“Paper Planes” nabs its second week at No. 1 after initially rising to the top of the Dec. 28, 2024-dated list. Its ascension is tied to a dance trend featuring the tune, which reached No. 4 on the Billboard Hot 100 in 2008. It earned 4.2 million official U.S. streams toward the Billboard charts in the week ending Jan. 2, according to Luminate, good for No. 9 on the Hot Alternative Songs chart.

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The song reigns over a previous TikTok Billboard Top 50 No. 1 in Djo’s “End of Beginning,” which roars back onto the tally at No. 2. Djo’s 2022 track exploded on TikTok in early 2024, eventually rising to No. 1 for two weeks in March of that year, though the tune hadn’t appeared on the ranking since July — until now.

Why is “End of Beginning” back? At the end of the song’s first verse, Djo’s Joe Keery asks, “Remember 24?” Though the lyrics in question reference being 24 years old, TikTok users flipped the script to refer to the year 2024, with some instructing viewers to start playing the song at a certain time on Dec. 31, 2024, so that they’d hear “Remember 24?” right as 2025 began.

“End of Beginning,” which peaked at No. 11 on the Hot 100 in March 2024, scored a 25% bump in chart-eligible streams in the week ending Jan. 2, earning 4.9 million listens.

Naughty Boy’s “La La La,” featuring Sam Smith, reaches a new peak of No. 3 on the TikTok Billboard Top 50 after leaping into the top 10 for the first time on the Jan. 4 ranking. The song remains driven by a trend featuring two or more people, with one creator lip-synching in the foreground and others dancing or acting out a scene in the background.

“La La La” concurrently debuts at No. 101 on the Billboard Global 200, and it sports a 12% jump in U.S. official streams to 3.7 million in the week ending Jan. 2. The tune peaked at No. 19 on the Hot 100 in 2014.

Three other songs round out the TikTok Billboard Top 50’s top 10, including one chart debut. Sam Austins’ “Seasons” leads the pack, leaping 16-7 after benefitting from an influx of year-end videos in which users recap their styles and looks throughout 2024, among other viral usages.

Tyler, the Creator’s “Sticky” — which features GloRilla, Sexyy Red and Lil Wayne — also makes it into the top 10 for the first time at No. 9, becoming the second song from the rapper’s St. Chroma to reach that region, after “Like Him” peaked at No. 3 in December (it ranks at No. 6 on the latest tally). Its rise comes in its ninth week on the survey, driven by a variety of uses that highlight the song’s different verses from its four rappers, with a more recent one including a dance involving twirling one’s hair to the “grab that mop” lyric.

And at No. 10, “I Always Wanted a Brother” from the new film Mufasa: The Lion King bows as the week’s top debut. The song went viral on TikTok at the tail end of 2024 (the movie was released on Dec. 20, 2024) as users highlighted the way that Scar (voiced by Theo Somolu as a cub) sings the word “brother” (as well as the animation of said singing). It’s since been utilized in lip-synching content as well.

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.

Stray Kids’ HOP spends a third week in a row at No. 1 on Billboard’s Top Album Sales chart (dated Jan. 11), as the set sold 27,000 copies in the U.S. in the week ending Jan. 2 (down 46%), according to Luminate. The effort debuted atop the chart dated Dec. 28 and has yet to […]

Mrs. GREEN APPLE’s “Lilac” returns to No. 1 on the Billboard Japan Hot 100, dated Jan. 8.

The Oblivion Battery opener gained in most metrics of the chart’s methodology from the week before: streams are up to 126%, radio airplay 172%, video views 126%, and karaoke 119%. The notable increase is most likely due to the group winning the Grand Prix at the 66th Japan Record Awards 2024 on Dec. 30 with this track (the threesome received this coveted award last year as well, with “Que Sera Sera”) and appearing on the prestigious live music show NHK’s Kohaku Uta Gassen on New Year’s Eve, and downloads have more than tripled from 4,794 units 15,585 units week-over-week. Also, the tracks the band performed on CDTV Live! Live! 2024→2025 — “I’m Invincible,” “Columbus,” and ”StaRt”— also climbed the chart, with “StaRt” reaching a new peak at No. 45.

Rosé & Bruno Mars’ “APT” slips a notch to No. 2. The global hit decreased in streaming, video and karaoke, but increased slightly in downloads and radio this week.

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6 of the tracks listed on the top 10 this week were performed on Kohaku. Creepy Nuts’ massive rap smash “Bling-Bang-Bang-Born” rose 6-3 and Kocchinokento’s breakout hit “Hai Yorokonde” more than doubled in downloads, rising 10-5. Omoinotake’s “IKUOKUKONEN” also gained in downloads more than twofold, rising a notch to No. 7, while tuki.’s “Bansanka” quadrupled in downloads, rising 17-9. Da-iCE’s “I wonder” tripled in downloads and returned to the top 10 for the first time in about 5 months.

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Other Kohaku performers who graced this week’s chart include Kenshi Yonezu, whose “Sayonara Mata Itsuka!” saw a six-fold increase in downloads to shoot to No. 17 from No. 40, and Fujii Kaze, whose “Michi Teyu Ku” returned to the Japan Hot 100 for the first time in about three months, hitting No. 27. Veteran rock duo B’z also return with two classic J-rock anthems, “ultra soul” and “LOVE PHANTOM.” The former re-enters the chart for the first time in about 7 years and 4 months at No. 49, fueled by radio and download points, while the latter comes in at No. 57, powered by gains in downloads and streams.

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 Dec. 30, 2024 to Jan. 5, 2025, here. For more on Japanese music and charts, visit Billboard Japan’s English Twitter account.

“The kicky, 23-year-old British singer released her second album, the break-up requiem 21, in February, but it wasn’t just heartbreak that made her popular,” Billboard wrote in December 2011. “In contemporary music, Adele is one of a kind, a woman who thrives off no bells and whistles, just pure personality and talent (and the ability to make the toughest curmudgeon cry).”

Following the set’s arrival, it launched at No. 1 on the Billboard 200 and ran up 24 nonconsecutive weeks at the summit through June 2012 – the most of any album on the chart over the first quarter of the century. Along the way, 21 spun off three enduring No. 1 singles on the Billboard Hot 100 – “Rolling in the Deep,” “Someone Like You” and “Set Fire to the Rain” – and won the Grammy for album of the year.

“It’s been the most erratic year,” Adele reflected late in her dominant 2011. “It’s been f–king brilliant and exciting and emotional. Professionally, it’s been a year that will define my life forever.” Still, Adele – who revealed last August the she and super-agent Rich Paul are getting married after dating since 2021 – added, “Not having someone to share all this with made me miserable at times, to be honest. I wanted nothing more than to be in love and be loved back. That was until I remembered I was sharing it with millions and millions and millions of people!”

Below, run down the albums (including others that turned heartbreak into hits) with the most weeks at No. 1 on the Billboard 200 chart over the first 25 years of the 21st century.

Plus, browse highlights of Billboard’s Top Artists of the 21st Century chart and the entire 100-position ranking in Billboard’s charts menu, as well as the leading titles on Billboard’s Top Billboard 200 Albums of the 21st Century chart and Then, check back tomorrow (Jan. 10) for the premiere of Billboard’s Top Hot 100 Songs of the 21st Century chart.

Billboard’s Top Artists, Top Billboard 200 Albums and Top Hot 100 Songs of the 21st Century recaps reflect performance on weekly charts dated Jan. 1, 2000, through Dec. 28, 2024. The Top Artists category ranks the best-performing acts in that span based on activity on the Billboard 200 and Hot 100. (Titles released prior to mid-1999 are excluded, although such entries that appeared on the Billboard 200 or Hot 100 in that span contribute to the calculation of the Top Artists chart.)

21, Adele

“I wasn’t about to make the same album twice,” Taylor Swift once mused of the process of crafting LPs. “I wanted to challenge myself. “I tend to write for the entire two-year process,” Swift said ahead of the arrival of 1989. From her self-titled debut in 2006 through 1989 in 2014, Swift released her first […]