Chart Beat
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Supa King’s “Tell On Me” becomes the first song to reign on the TikTok Billboard Top 50 chart for more than two weeks in a row in 2025, spending its second week at No. 1 on the Feb. 1-dated ranking.
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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 Jan. 20-26. Activity on TikTok is not included in Billboard charts except for the TikTok Billboard Top 50.
The latest TikTok Billboard Top 50 includes seven full days of data; the app was unavailable in the U.S. for multiple hours between Jan. 18 and 19.
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“Tell On Me” is the first song to string together consecutive weeks at No. 1 on the chart since Yeah Yeah Yeahs’ “Maps” ruled for seven weeks in a row between October and November 2024. It’s also the first song to rack up at least two weeks at No. 1 within the calendar year; M.I.A.’s “Paper Planes” spent its second frame at No. 1 on the Jan. 11-dated tally after first reigning in December 2024.
Released in 2016, Supa King’s “Tell On Me,” featured on that year’s SKBP, Vol. 1, has achieved TikTok virality thanks to a trend where creators lip synch to the song’s chorus while performing often gravity-defying stunts and poses, many times in a bathroom.
Its appearance on the chart marks “Tell On Me” and Supa King’s first on a Billboard ranking, and concurrently, the tune jumps 35% to 968,000 official U.S. streams in the week ending Jan. 23, according to Luminate.
While “Tell On Me” remains on top of the TikTok Billboard Top 50, the rest of the top five contains upward movement of some kind. It’s led by Sage the Gemini’s “Gas Pedal,” featuring Iamsu!, which lifts 3-2 in its third week on the chart. The 2013 track, which peaked at No. 29 on the Billboard Hot 100 that September, is driven on TikTok by a dance trend, spurring a 29% gain in streams to 1.7 million in the Billboard chart tracking week ending Jan. 23.
Gelo’s “Tweaker” re-enters the TikTok Billboard Top 50 at No. 3, a new peak. The rap project of basketball player LiAngelo Ball has enjoyed a No. 29 peak so far on the Hot 100, coming on the survey dated Jan. 18. The viral tune has been used in a variety of ways on the platform, including highlighting the “I might swerve, bend that corner, whoa” lyric to show people (or people in vehicles) taking turns or corners, sometimes in dangerous manners.
Lil Wayne’s “She Will,” which features Drake, follows at No. 4 as the TikTok Billboard Top 50’s top debut of the week. It’s boosted by a dance trend, usually with the dancer or dancers shown up against a wall, and it’s led to a 15% boost in streams for the song (which was released in 2011 as part of Tha Carter IV and peaked at No. 3 on the Hot 100) to 4.1 million.
Rounding out the TikTok Billboard Top 50’s top five: SZA’s “30 for 30,” with Kendrick Lamar, which lifts 7-5 for a new peak in its fourth week on the ranking. Lamar’s “But if it’s f–k me then f–k you/ And that’s the way I like it” lyric remains the focus here, whether it’s from lip synchs, dances or captions where the user utilizes Lamar’s verse to respond to some type of prompt.
Two more songs hit the top 10 of the chart for the first time after debuting on the Jan. 25 tally: Fetty Wap’s “Jimmy Choo” and Saga Faye’s “Who Are You?” at Nos. 9 and 10, respectively. “Jimmy Choo” benefits from virtually the same trend as “Tell On Me” mentioned before, with creators filming physically challenging contortions and poses in a bathroom mirror. “Who Are You?,” meanwhile, features a trend where users show the progression of their selves throughout their lives, set to the “Thought that I knew, now I don’t have a clue/ Who are you?” lyric.
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.
The 1990s brought a host of new names to the Billboard 200, as acts in pop, rock, R&B/hip-hop, country and dance made their marks with attention-getting albums. Still, not all artists lead the list on their first try, as they continue to build a following – making an initial No. 1 that much sweeter. In […]
Vince Guaraldi’s soundtrack to the 1975 animated TV special Be My Valentine, Charlie Brown, debuts across an array of Billboard album charts (dated Feb. 1), including top 10 arrivals on Jazz Albums, Traditional Jazz Albums and Indie Store Album Sales. It also takes a bow on the Kid Albums and Top Album Sales charts.
This is the first time the complete soundtrack to the special has been released, as only select tracks from the program have been released previously.
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Be My Valentine, Charlie Brown marked the 13th animated Peanuts special, and premiered on CBS-TV on Jan. 28, 1975. It garnered an Emmy Award nomination for outstanding children’s special.
The soundtrack was issued nearly 50 years to the day after the program’s debut – as the album arrived on Jan. 17, 2025. The 30-track album was released via streaming services, as well as to purchase as a digital download, CD and across three vinyl variants (a standard black vinyl, plus a red-colored edition and pink-colored edition).
Be My Valentine, Charlie Brown enters at No. 7 on Traditional Jazz Albums, No. 9 on the overall Jazz Albums ranking, No. 9 on Indie Store Album Sales, No. 18 on Kid Albums and No. 48 on Top Album Sales. The set earned a little over 2,000 equivalent album units in the U.S. in the week ending Jan. 23, according to Luminate, with nearly all of that sum driven by traditional album sales.
Be My Valentine, Charlie Brown is the latest in a series of from-the-vaults Peanuts soundtrack releases Lee Mendelson Film Productions, the company that produced more than 50 Peanuts animated specials. In recent years, the studio has released Guaraldi’s companion albums to You’re Not Elected, Charlie Brown; It Was a Short Summer, Charlie Brown and A Charlie Brown Thanksgiving.
The first Peanuts animated special, 1965’s A Charlie Brown Christmas, launched the evergreen soundtrack album of the same name from Vince Guaraldi Trio. That set has spent more than 100 nonconsecutive weeks at No. 1 on the Kid Albums chart and has visited the top 40 of the all-genre Billboard 200 in every holiday season for the last 10 years.
Kenshi Yonezu blasts in at No. 1 on the Billboard Japan Hot 100 with his latest hit song “Plazma,” on the chart dated Jan. 29.
The track was written as the theme song for the latest installment of the Mobile Suit Gundam franchise called GQuuuuuuX -Beginning-, released in domestic theaters Jan. 17. After being released digitally on Jan. 20, the track racked up 9,235,562 streams to hit No. 3 for the metric, while coming in at No. 1 for downloads with 40,408 units and No. 4 for radio airplay. This is the eighth chart-topper — and 16th week at No. 1 — for the 33-year-old hitmaker, whose singles “Lemon,” “Flamingo,” “Spirits of the Sea,” “Uma to Shika,” “Pale Blue,” “M87,” and “KICK BACK” have previously hit No. 1.
Coming in a close second on the Japan Hot 100 is Mrs. GREEN APPLE’s “Darling.” The theme song for NHK’s television special featuring the group collaborating with teenagers called Mrs. GREEN APPLE 18 Matsuri hit No. 2 for streaming (12,054,584 streams) and downloads (19,835 units), ruled video views, and came in at No. 18 for radio.
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The three-man band’s former No. 1 track “Lilac” slips two notches to No. 3 this week. While toppling from the top spot on the Japan Hot 100, the song continues to dominate the streaming metric for the 22nd week. Mrs. GREEN APPLE’s “Soranji” is also charting in the top 10, climbing a rung to No. 7. With 6,431,698 weekly views, this track continues to hold in the top 10 for streams and is on the verge of reaching 500 million cumulative streams. Mrs. GREEN APPLE has 5 songs in the top 10 and 20 songs in the top 100 this week, with “Darling ~18 Matsuri Ver.~” bowing at No. 44.
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ONE OK ROCK’s “Puppets Can’t Control You” debuts at No. 10. The theme song for the TV drama Mikami Sensei ruled radio, while hitting No. 3 for downloads and No. 64 for streaming. Meanwhile, Chanmina’s songs continue to rise, with “Harenchi” climbing 51-47, “Never Grow Up” 79-75, “NG” debuting at No. 80, “^_^” at No. 92, and ‘B-kyu’ rising to No. 95.
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 Jan. 20 to 26, here. For more on Japanese music and charts, visit Billboard Japan’s English X account.
Welcome to Billboard Pro’s Trending Up newsletter, 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.
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This week: Lola Young’s breakout hit keeps on breaking in the U.S., Timothée Chalamet’s turn pulling SNL double-duty helps shine a light on some lesser-streamed Bob Dylan cuts and a Lil Wayne and Drake favorite from a decade ago finds new TikTok virality.
Lola Young Gets “Messy” on Late Night, Breakthrough Single Surges in Streams & Sales
U.K. alt-pop/rock sensation Lola Young made her debut on stateside TV last week on The Tonight Show Starring Jimmy Fallon, with both a performance of her breakthrough hit “Messy” and an interview with Fallon. Young captivated viewers with her unpolished energy, cheeky humor and thick accent – and of course, with one of the best hits of the past few months, an anthem of frustrated individualism that had reaches a new No. 25 high on the Billboard Hot 100 this week (on the chart dated Feb. 1), following her performance last Tuesday (Jan. 21).
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The song should climb even higher next week, as “Messy” has hit new peaks on streaming and sales following her high-profile Fallon appearance. The song has racked up 8.8 million official on-demand streams across the first four days of this tracking week – a gain of 30% from the same period the previous week, according to Luminate – while also moving 4,800 copies through digital sales, a 119% gain from the week before. “Messy” has been in the No. 1 spot on the real-time iTunes chart for most of the week, suggesting that a lot of folks in this country are connecting with its “I just want to be me/ Is that not allowed?” sentiment these days. – ANDREW UNTERBERGER
Timmy Plays Twice, It’s Alright: Chalamet Boosts Bob Songs on ‘SNL’
A few weeks ago, we wrote about how Bob Dylan’s streaming catalog, including some of the most iconic hits of his early discography, had skyrocketed thanks to A Complete Unknown, the new Dylan biopic starring Timothée Chalamet. Since then, the James Mangold-directed film has scored eight Oscar nominations (including Chalamet’s second Best Actor nod), and Chalamet served as both the host and musical guest on Saturday Night Live on Jan. 25, where he covered some relatively lesser-known Dylan songs: “Outlaw Blues” and “Three Angels” as a medley, and “Tomorrow is a Long Time.”
Naturally, streams for those three Dylan songs exploded following the SNL performances, growing an even greater percentage than the legendary tracks receiving upticks from the film. “Tomorrow is a Long Time” leapt from 4,000 official U.S. on-demand streams over the previous Sunday and Monday (Jan. 19-20) to 52,000 streams from Jan. 26-27 — a 1100% bump, according to Luminate. Meanwhile, “Outlaw Blues” and “Three Angels” were up to 45,000 streams and 30,000 streams over the more recent two-day period, respectively. All told, the three songs grew from a little over 9,000 streams from Jan. 19-20 to a whopping 128,000 streams one week later. Maybe Chalamet can help out some more Dylan deep cuts with an Oscars performance? – JASON LIPSHUTZ
Lil Wayne and Drake Strip Club Anthem Becomes TikTok Wall Dance Trend
TikTok certainly loves a wall-dance trend. One of the latest songs that has countless users backing it up against the wall is “She Will,” the Drake-featuring smash from Lil Wayne’s Tha Carter IV album that reached the Hot 100’s top five back in 2011. The clip from the song used for these videos is triggered by Wayne’s “Ladies and gentlemen, Drizzy” welcoming of his co-star, followed by Drake’s own introductory “Unh” grunt – but then the vocals cut out for a Jersey clubbier remix of the song’s strip club-ready beat to soundtrack users’ wall-bound gyrations.
The challenge has become a big-enough TikTok trend to help drive consumption of the song back to some of its highest levels since its original release. “She Will” was up to 3.9 million official on-demand U.S. streams the past tracking week (ending Jan. 23), according to Luminate, part of a steady climb that’s seen the song rise 65% from 2.3 million streams it posted five weeks earlier. Lil Wayne might not have gotten the career-capping hometown gig he might have really wanted for this early year – though we’re still holding out hope he makes some kind of appearance at the Superdome on Feb. 9 – but his back catalog remains forever present in the culture regardless. – AU
The December 2024 Boxscore report is haunted by the ghosts of Christmas Past, Present, and (likely) Future: Trans-Siberian Orchestra closes out 2024 at No. 1 on Top Tours, just as it did in December of 2023, 2022, 2021, and 2019 (there was no chart in 2020 due to venue closures during COVID-19).
According to figures reported to Billboard Boxscore, Trans-Siberian Orchestra earned $48.2 million and sold 581,000 tickets from 70 shows between Dec. 1-30. How does one touring act perform 70 shows in 30 days? As has been the case since its 1999 touring debut, TSO employs two ensembles, pushing one to the eastern half of the United States and another to the west. Further, as Christmas approaches, each ensemble ramps up the pace with a matinee and evening performance in each city; for 12 days out of the month, TSO played four shows.
At 70 shows, TSO was four times busier than any of the other 29 artists on December’s Top Tours chart. Pentatonix is the only other act on the ranking that played more than 10 shows in December, with 16 dates on a holiday tour of its own. Even if TSO didn’t have the advantage of being in two places at once, it’d still tower over Pentatonix and everyone else on the survey.
TSO’s annual tour began on Nov. 13 in Council Bluffs, Iowa and Green Bay, Wisc. In all, it played 110 shows in 2024, marking its fullest routing since 2009 (112). It paid off, combining to $69 million, up 1% from last year’s $68.2 million to finish as its biggest year ever. Altogether, TSO has earned $871.4 million and sold 15.8 million tickets since 1999. The ensemble has reported 2,003 concerts, more than any other act in Boxscore history.
Out of 41 cities on the December calendar, TSO grossed more than $1 million in 21. Two shows at Philadelphia’s Wells Fargo Center on Dec. 22 earned $2.1 million. That’s just the third engagement in the group’s history to eclipse the $2 million threshold, joining stops in Tampa ($2.1 million) and Cleveland ($2 million) from 2023.
Both Cleveland and Tampa were among this year’s biggest markets, with $1.9 million and $1.8 million, respectively. St. Paul, Minn. and Pittsburgh, Penn. joined with $1.8 million each. Five markets sold more than 20,000 tickets, including Rosemont, Ill. and Dallas.
Zach Bryan and George Strait follow on Top Tours, crystalizing a banner year for country acts. Bryan grossed $28.5 million over nine shows in just four markets. Just 31 miles from his hometown of Oologah, Okla., three shows at Tulsa’s BOK Center did the heaviest lifting with $9.4 million on Dec. 12-14.
It’s impressive enough that Bryan is No. 2 from shows in just four cities. But George Strait is No. 3 from the power of just one show. His Dec. 7 concert at Las Vegas’ Allegiant Stadium grossed $23.3 million from 47,600 tickets sold, handily crowning Top Boxscores. The next highest one-night engagement on Top Boxscores is Luis Miguel at No. 18 with less than a quarter of Strait’s massive Vegas pull.
Las Vegas dominates Top Boxscores, clogging the top three positions with variety in terms of genre and size. Following Strait’s country stadium juggernaut, Bruno Mars is No. 2 with six shows from his MGM residency at Dolby Live. Those grossed $16 million and sold 31,900 tickets, pushing the residency’s total earnings to $154.8 million, dating back to its 2016 launch.
Rounding out the Vegas trio, Anyma is No. 3 with the first five of eight shows at Sphere. In between Strait’s stadium and Mars’ theater, Sphere’s arena configuration translated to 84,900 tickets sold from Dec. 27-31, combining to $13.6 million. The Italian American DJ is the first electronic act to headline the famed hall, following rock turns from Dead & Company, the Eagles, Phish, and U2.
Sphere takes two more spots in the top 10, with two weekends with the Eagles at Nos. 9-10. Altogether, those shows earned $18.5 million, making them the fifth-highest grossing act of the month. Sphere ends December at No. 2 on Top Venues (15,001+ capacity), just 2% off from its older sister venue, New York’s Madison Square Garden.
Trans-Siberian Orchestra is not the only holiday act impacting the December Boxscore recap. Perennial favorites Pentatonix and Mariah Carey both hit Top Tours, with $14.2 million and $8.3 million, respectively.
As far as individual events go, Denver’s Decadence New Year’s Eve and New York’s Z100 Jingle Ball both appear on Top Boxscores. In addition to NYE performances from Anyma and Bruno Mars, Phish closed out the year with four shows at Madison Square Garden ($9.6 million) and Billy Joel performed a one-night engagement in Long Island at the UBS Arena ($3.8 million).
And as reliable as TSO, the Rockettes returned to Radio City Music Hall for the annual Christmas Spectacular. No. 1 on Top Venues (5,001-10k capacity), the RCMH earned nearly $100 million from 736,000 tickets sold over 129 December shows.
The Contenders is a midweek column that looks at artists aiming for the top of the Billboard charts, and the strategies behind their efforts. This week, for the upcoming Billboard 200 albums chart dated Feb. 8, we look at a bunch of new albums, led by the sequel set from one of last year’s greatest chart breakthrough stories.
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Teddy Swims, I’ve Tried Everything But Therapy (Pt. 2) (SWIMS Int./Warner): Few artists enjoyed a mainstream breakout in 2024 like Teddy Swims, whose megaballad “Lose Control” not only topped the 2024 year-end Billboard Hot 100 after first reaching the chart in late 2023, but which still ranks in the listing’s top 10 this week. That song came from Swims’ debut album I’ve Tried Everything but Therapy (Pt. 1), which reached No. 17 on the Billboard 200 and spawned a second hit in the more uptempo No. 26-peaking “The Door.”
Now, the big-voiced Georgia singer-songwriter is back with that set’s follow-up, logically titled I’ve Tried Everything but Therapy (Pt. 2). The new album is available in eight vinyl variants, including one signed by Swims, as well as standard and signed CD editions, and a standard digital download. The set also features two more chart hits in “Bad Dreams” (No. 57) and Giveon collab “Are You Even Real” (No. 59), with Swims performing the latter on The Tonight Show Starring Jimmy Fallon Jan. 23, just before the album’s release.
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Bad Bunny, Debí Tirar Más Fotos (Rimas): Speaking of Fallon: His recent co-host Bad Bunny should provide the biggest challenge to Swims scoring his first No. 1 on the Billboard 200 next week. Debí Tirar Más Fotos climbed to the chart’s apex — after debuting at No. 2 in an incomplete debut tracking week — and moved a fairly staggering 203,500 units in its second frame, as the critically acclaimed album continued to catch fire on streaming through word of mouth and through a handful of viral hits, most notably quasi-title track “DtMF,” which shot to No. 2 on the Hot 100.
This week, the set has cooled down a little from its blazing start, but remains a major force across streaming – claiming six of the top 25 spots on Apple Music’s real time chart and five of the top 25 on Spotify’s Daily Top Songs USA, including “DtMF” still reigning at No. 1. No tracks from the Swims set are currently even in the top 50 on either chart, which means it will have to sell a tremendous number of physical copies to threaten Bad Bunny’s blockbuster on next week’s chart – a big ask for such a still relatively new artist.
Kane Brown, The High Road (RCA Nashville): A longer-established hitmaker with a new set this week is country star Kane Brown, who has hit the Billboard 200’s top five with each of his top three albums, including 2018s’ chart-topping Experiment. His new set The High Road – not to be confused with recent “High Road” country hits by Zach Bryan and Koe Wetzel & Jessie Murph – features 18 tracks, including already-minted hits “Miles on It” (with EDM star Marshmello) and the Phil Collins-interpolating “I Can Feel It.” The album is available in nine vinyl variants (including signed editions), as well as three d2c-only digital album variants with different cover art, and at leat four CD variants, also including signed editions.
IN THE MIX
Central Cee, Can’t Rush Greatness (CC4L/Columbia): U.K. MC Central Cee has been one of the globe’s hottest rappers for most of the 2020s album, but is only now releasing debut album Can’t Rush Greatness – hence the title. The 17-track set features U.S. rap stars 21 Savage, Lil Durk and Lil Baby, the latter on last year’s top 20 Hot 100 hit “BAND4BAND.” The album should stream well, and has already caused a minor internet fury with its track “5 Star” — which contained rhymes perceived as a diss towards fellow U.K. hip-hop hitmaker Aitch, who responded the same day of its release with his own “A Guy Called?”
FKA twigs, Eusexua (Young/Altantic): Wildly acclaimed for over a decade now, U.K. electro-soul singer-songwriter FKA twigs is back this week with the much-anticipated Eusexua, her first LP since 2022’s Caprisongs. The album is available in six vinyl variants, signed and unsigned CDs, cassette and two digital download variants, one a d2c exclusive with a bonus track. Twigs definitely hasn’t lost her fastball as a critics’ darling, as Eusexua is already one of the year’s strongest-reviewed sets, including a rare 9.1 rating from Pitchfork.
While some artists shoot to the top of the Billboard 200 albums chart with their debut efforts, it sometimes takes years — or decades — to hit No. 1 for the very first time. In the first quarter of the 21st century, we’ve seen a who’s who of acts with illustrious careers on the Billboard […]
Deitrick Haddon achieves his fourth No. 1 on Billboard’s Gospel Airplay chart as “Never Be the Same” ascends to the top of the survey dated Feb. 1. During the Jan. 17-23 tracking week, the song increased by 11% in plays, according to Luminate. “Never Be the Same” was authored solely by Haddon and he co-produced […]
Mac Miller’s Balloonerism bows at No. 1 across multiple Billboard album charts, including Top Album Sales, Top Rap Albums, Vinyl Albums and Indie Store Album Sales. Plus, seven of the album’s tracks dot the Hot R&B/Hip-Hop Songs chart. Balloonerism’s songs date back to 2014, but the project was shelved in favor of other releases.
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Balloonerism is the second No. 1 on Top Album Sales for Miller, who died in 2018. It’s also his third leader on Top Rap Albums, his sixth chart-topper on Vinyl Albums and his first on the Indie Store Album Sales ranking.
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Balloonerism sold a little over 41,000 copies in the U.S. in the tracking week ending Jan. 23, according to Luminate. Vinyl sales comprise the bulk of that sum – 32,000, marking his best sales week ever on vinyl.
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 (TEA) units and streaming equivalent album (SEA) units.
On Top Album Sales, Miller triumphs over a surging Gracie Abrams, whose The Secret of Us vaults 33-2 with 21,000 sold (up 689% after the vinyl and CD release of a deluxe edition of the album). Rounding out the rest of the top 10: the Wicked soundtrack (moving 2-3), Stray Kids’ HOP (5-4), Chappell Roan’s The Rise and Fall of a Midwest Princess (3-5), Sabrina Carpenter’s Short n’ Sweet (holding at No. 6), Billie Eilish’s Hit Me Hard and Soft (9-7), ROSÉ’s Rosie (11-8), Fleetwood Mac’s Rumours (13-9) and Tyler, The Creator’s IGOR (15-10).
On the Billboard 200, Balloonerism debuts at No. 3 – the eighth top 10-charting set for Miller on that ranking.
Miller On the R&B/Hip-Hop & Rap Charts: Miller earns his third No. 1 on the Top Rap Albums chart. He first ruled with Blue Slide Park in 2011 and followed with The Divine Feminine in 2016, both of which led for one week. On the Top R&B/Hip-Hop Albums list, Balloonerism debuts at No. 2 andgives the late rapper his seventh top 10 effort. In addition to the No. 1s Blue Slide Park and The Divine Feminine, he also reached the region with Watching Movies With the Sound Off (No. 3 in 2013); GO:OD AM (No. 2, 2015); Swimming (No. 3, 2018) and Faces (No. 3, 2021).
Seven of Balloonerism’s tracks land on the Hot R&B/Hip-Hop Songs chart, led by a No. 16 debut for “Funny Papers.” The arrival instantly makes it Miller’s second-highest peak on the chart among his 23 entries, trailing only the No. 10 best for “Good News” in 2020.
Notable among the other tracks, “5 Dollar Pony Rides” bolts 32-19 in its second week on Hot R&B/Hip-Hop Songs and wins the weekly Streaming Gainer and Sales Gainer honors. “DJ’s Chord Organ,” featuring SZA, begins at No. 23 and opens at No. 7 on the Hot R&B Songs chart.
Over On the Billboard Hot 100: On the all-genre, multi-metric Hot 100, four of the album’s songs debut: “Funny Papers” (No. 77), “5 Dollar Pony Rides” (No. 85), “DJ’s Chord Organ” (No. 95) and “Stoned” (No. 97).
Miller Hits a New Peak on the Billboard Artist 100 Chart: Activity surrounding Ballonerism drives Miller 66-2 on the Billboard Artist 100, a new peak for the rapper at his 83rd nonconsecutive week on the chart. The Billboard Artist 100 measures artist activity across key metrics of music consumption – album and track sales, radio airplay and streaming – to provide a weekly multi-dimensional ranking of the most popular artists in the U.S.