Chart Beat
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New Orleans blues guitarist and singer-songwriter Tab Benoit first debuted on Billboard’s charts in September 1995 with his third studio album, Standing on the Bank. The set opened at No. 12 on Billboard’s Blues Albums chart before peaking at No. 9 the following month. Explore Explore See latest videos, charts and news See latest videos, […]
Tommy Richman blasted off this summer with his breakthrough single “Million Dollar Baby,” and the song is still holding strong. This week, on the Sept. 21-dated charts, the song spends a 20th week at No. 1 on the Hot R&B Songs chart, making it just the seventh song in the chart’s 12-year history to reach […]
Alejandro Fernández and Anitta team-up atop Billboard’s Regional Mexican Airplay chart as “La Tóxica” climbs 6-1 to rule the ranking dated Sept. 21.
With her first appearance and No. 1 on the 40-deep ranking, Anitta enters a class of her own, becoming the first Brazilian artist to rule any Billboard Regional Mexican chart (Billboard has Regional Mexican Airplay and Regional Mexican Albums charts).
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Since appearing on Regional Mexican Airplay in July, “La Tóxica” has been rising on radio airplay. During the Sept. 6-12 tracking week, the corrido norteño racks up 6.3 million in audience impressions in the U.S. That’s a 37% gain from the week prior across monitored regional Mexican radio stations, according to Luminate. Plus, the song achieves the Greatest Gainer honor of the week (awarded weekly to the song with the largest gain in audience).
Fernández’s collaboration with Anitta follows a series of attractive partnerships with female artists who predominantly sing in another language. The hitmaker took Beyoncé to a No. 23 high on Latin Pop Airplay through “Amor Gitano,” in March 2007. Meanwhile, “Hoy Tengo Ganas De Ti,” with Christina Aguilera, reached No. 13 on Latin Pop Airplay in 2013.
In the proceeding years, other fruitful pair-ups arose through Latin artists Morat and Alfredo Oilvas, who earned their highest-charting entries on two different charts. “Sé Que Te Duele” drove pop band Morat to their second and last entry on Latin Pop Airplay (No. 23 high, 2017). Meanwhile, “Cobijas Ajenas” propelled Olivas to his first No. 1 on the overall Latin Airplay chart (one week atop, June 8, 2024).
As “La Tóxica” lands at the summit, Fernández ups his career count to 10 No. 1s, extending his third-most rulers mark among soloists since the chart launched in 1994, where Christian Nodal continues at the helm with 17 No. 1s, while Gerardo Ortiz follows with 13 champs.
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Anitta, meanwhile, celebrates her first No. 1 on a Billboard airplay chart in over six years, when “Machika,” with J Balvin and Jeon, ruled both the overall Latin Airplay and Latin Rhythm Airplay rankings for one week in March 2018. Plus, she builds on “La Tóxica’s” success with career-bests numbers.
First Brazilian to Rule a Regional Mexican Chart: As Anitta made an entrance on regional Mexican ground in July, the pop singer became a strong beneficiary. Not only did she become the first Brazilian artist to visit any of Billboard’s regional Mexican charts, but with “La Tóxica’s” coronation, she also becomes the first Brazilian act to score a No. 1 on any regional Mexican ranking.
10th Female Soloist to Hit No. 1: Further, Anitta becomes just the 10th female soloist to land at the summit on Regional Mexican Airplay. She follows the lates Selena and Jenni Rivera, who reigned in 1994-95, and 2006, respectively, plus, Pilar Montenegro, who ruled in 2002, Alicia Villarreal (2004), Graciela Beltran (2007) Ángela Aguilar (2021, 2022, 2024), and Shakira, Becky G, and Emilia, all who scored a No. 1 in 2024.
Fifth Woman Outside of the Genre to Secure a No. 1: Anitta likewise becomes the fifth female solo singer, outside of the regional Mexican genre –or who predominantly records pop songs– to secure a No. 1 on Regional Mexican Airplay. Here’s that list of winners:
Artist, Title, Date, Weeks at No. 1Pilar Montenegro, “Quítame Ese Hombre,” March 23, 2002, nineShakira, with Grupo Frontera, “(Entre Paréntesis),” May 18, oneBecky G, with Leonardo & Ángela Aguilar, “Por El Contrario,” March 9, oneEmilia, with Los Ángeles Azules, “Perdonarte, Para Qué?,” July 20, oneBecky G, with Oscar Maydon, “Mercedes,” Aug. 3, oneAnitta, with Alejandro Fernández, “La Tóxica,” Sept. 21
“La Tóxica” is the fourth single from Fernández’s album, Te Llevo En La Sangre, to crown Regional Mexican Airplay. It trails “No Es Que Me Quiera Ir,” “Difícil Tu Caso”, and “Cobijas Ajenas”, with Olivas, all which ruled for one week between 2023-’24.
The song’s radio coronation builds upon a win streak for Fernández, who just received his 2024 Latin Grammy nomination for best Ranchera/Mariachi album for Te Llevo En La Sangre.
GloRilla has much to celebrate this week as her single “TGIF” tops Billboard’s Mainstream R&B/Hip-Hop Airplay chart. The track rises from No. 2 to crown the list dated Sept. 21 and was the most-played song on U.S. monitored mainstream R&B/hip-hop radio stations in the tracking week of Sept. 6-12, according to Luminate.
The song’s coronation comes after a 15% gain in plays for the tracking week, compared with the previous frame. Thanks to the surge, “TGIF” wins the Greatest Gainer award, given to the song with the week’s largest increase in play count.
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With “TGIF,” GloRilla grabs her fourth No. 1 on Mainstream R&B/Hip-Hop Airplay. The Memphis-raised rapper first led the chart with her breakthrough hit, “F.N.F. (Let’s Go),” with producer HitKidd, which reigned for one week in 2022. The 10-week juggernaut “Tomorrow 2,” with Cardi B, followed in 2022-2023, while her third visit to the summit came via “Yeah Glo!,” a two-week champ earlier this year.
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“TGIF” evicts Kendrick Lamar’s “Not Like Us” from the penthouse after the latter ruled for the last nine weeks, of 11 total in charge. By taking the throne from Lamar’s culture-shaping hit, GloRilla enjoys a bit of revenge. Her previous single, the Megan Thee Stallion collaboration “Wanna Be,” parked in the runner-up spot for five weeks in August – September, blocked from the No. 1 spot by “Not Like Us.”
A standalone single, “TGIF” scored viral popularity, with plenty of Internet posts playing off several lyrics, including the track’s “it’s 7 pm Friday / it’s 95 degrees” opening lines. Rihanna also elevated the track’s popularity soon after its release, with a TikTok post of her rapping alongside the song having just over 157 million views on the social platform.
Elsewhere, “TGIF” repeats at its No. 2 high on the R&B/Hip-Hop Airplay chart, which ranks songs by combined audience totals from adult R&B and mainstream R&B/hip-hop stations. Despite remaining in second place, “TGIF” improved to 15.8 million in weekly audience, up 13% from the previous week and enough to capture the Greatest Gainer honor. It also advances 3-2 on Rap Airplay (up 14% in audience) and 16-12 on Rhythmic Airplay (a 19% increase in plays).
Continued ascent across the radio formats help “TGIF” soar 30-22 on the all-genre Radio Songs chart, where it jumps to 22.7 million in total audience, a 14% weekly gain. The airplay strength, in turn, pushes “TGIF” to new heights on the multi-metric Hot R&B/Hip-Hop Songs chart, which blends radio airplay with streaming and sales data for its ranks. There, “TGIF” steps 7-6 to a new peak, in its 12th week on the list.
Two weeks ago, Linkin Park fans had no clue if they would ever hear totally new music from the band again. This week, not only is the band back playing arena shows, but they also have a brand-new single — and it’s their highest-peaking Billboard Hot 100 hit in 15 years.
“The Emptiness Machine” is the first release from the legendary nu-metal band with their new lineup — including new lead singer Emily Armstrong, who replaces the late great Chester Bennington, and new drummer Colin Brittain, who takes the sticks from Rob Bourdon after two decades as the band’s timekeeper. The new song debuts at No. 21 on this week’s Hot 100 (dated Sept. 21), LP’s highest placement on the chart since Transformers: Revenge of the Fallen soundtrack single “New Divide” reached No. 6 in 2009.
Why has the song achieved such quick success? And how much does it feel like classic Linkin Park? Billboard staffers discuss these questions and more below.
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1. “The Emptiness Machine” debuts at No. 21 on the Billboard Hot 100 this week. Is that higher, lower, or about where you would’ve expected it to land in its first week?
Anna Chan: No. 21 feels about right. Curiosity about new singer Emily Armstrong was bound to generate a bunch of streams anyway, whether from longtime fans of the band, or younger listeners who have grown up with the more recent batch of strong female hard rock vocalists.
Kyle Denis: Honestly, higher. It’s not like hard rock songs are proving to be first-week Hot 100 smashes in this era and there’s always going to be some skepticism when a band announces a new lead singer, especially one who has to fill the massive shoes of the late Chester Bennington. I’d say that a No. 21 is a massive win for Linkin Park.
Josh Glicksman: It’s generally in line with what I expected. Had “Lost” not debuted at No. 38 last year, I may have guessed Linkin Park coming in a bit lower with “The Emptiness Machine,” but given the precedent — combined with the large amount of buzz surrounding the mysterious countdown clock on the band’s official website in the days leading to its release — a nice bump up from the former track makes sense. And with the new single arriving Thursday night, some of the initial plays fell into the prior tracking week, likely costing it a few slots higher on the chart.
Jason Lipshutz: Higher. Although “Lost” debuted in the top 40 of the Hot 100 last year, the excavated Meteora track came from one of their most commercially successful eras; the fact that “The Emptiness Machine” debuted even higher, with a new co-vocalist helping lead the way and at a time when hard rock songs seldom make the upper reaches of the chart, is a pretty startling development, and speaks to the fan enthusiasm around the return of Linkin Park. The band likely believed in the song’s potential as a rock and alternative chart mainstay, but scoring a No. 21 debut on the Hot 100 is a dream scenario for their comeback.
Andrew Unterberger: Unquestionably higher. It’s really, really hard for a legacy rock band to even crack the Hot 100 these days, let alone land in the top 25 the week’s top debut. It helps that Linkin Park is a little younger (and still sounds significantly more contemporary) than fellow veteran rock radio mainstays like Green Day, Foo Fighters and Red Hot Chili Peppers, but even still, a No. 21 debut for a new song — with a new lead singer who a lot of LP fans probably didn’t even know existed two weeks ago, no less — is very, very impressive.
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2. Between “Machine” and 2023’s rediscovered Meteora-era cut “Lost,” it’s two top 40 hits now for Linkin Park this decade — already matching their total for the entire 2010s. Why do you think Linkin Park have managed to maintain such high levels of interest when most other popular rock bands who have been around for 20-plus years struggle to land such chart placements?
Anna Chan: “Lost” had the benefit of featuring the late, great Chester Bennington’s vocals, something that, as co-frontperson Mike Shinoda himself told our very own Jason Lipshutz, fans had been asking the band for “for years.” Give, and ye shall receive the streams. Then a mere year after the track’s arrival and seven after Bennington’s death, a woman steps in as co-lead singer for the rocker who was No. 34 on Billboard‘s Best Rock Singers list with a new song, and people were going to tune in, whether to rejoice at the return of the band, the aforementioned curiosity, or simply to find something to complain about, whether rightfully so or not. That’s a lot of drama — let’s not even get into the Scientology of it all — that can’t be duplicated. (And please don’t get any ideas, Soundgarden.)
Kyle Denis: Outside of them being one of the best popular rock bands on their era, I think Linkin Park has maintained such high levels of interest because they’ve sort of naturally let different pockets of music intersect with the band’s music without sacrificing or compromising their foundational sound. They have timeless crossover smashes (“In the End,” “Numb”) and projects that brought them further into the hip-hop space (their underrated 2004 Collision Course EP with Jay-Z), but it never felt like the ethos of the band had shifted in relentless pursuit of mainstream commercial wins. In that vein, their commitment to rock continues to feed audiences who may not satisfied by how pop-facing popular rock bands of the 2010s are/have become.
Josh Glicksman: It’s not easily quantifiable, but Linkin Park has married its following of the deeply devoted fanbase it created in the first decade of the 2000s with Gen Z listeners curating their own tastes in music. Some of that may have to do with the band having larger-scale, longer-lasting hits than its counterparts; it could be helped by Mike Shinoda leaning into working with artists of the next generation; and it certainly could be fueled by fans wanting to preserve and honor the legacy of Chester Bennington. Whatever it is, clearly the appetite for Linkin Park is as strong as ever.
Jason Lipshutz: To me, the chart success of “Lost” last year and “The Emptiness Machine” this month can be chalked up to a combination of the quality of the songs, enduring interest from a huge fan base, and a historical re-assessment of Linkin Park. While “Lost” is classic Linkin Park, an electro-rock anthem buoyed by Chester Bennington’s singular voice, “The Emptiness Machine” kicks off a new era with passion and personality; they both speak to different factions of the same fan base, who have remained loyal to the band for the seven years between Bennington’s tragic death and the recent reformation. And the band’s sonic evolution across their discography has produced an enviable supply of hits and signature moments; I don’t doubt that a lot of listeners who weren’t paying attention during Linkin Park’s heyday (or were too young to do so) streamed “Lost” and “The Emptiness Machine,” and helped turn each into a top 40 hit.
Andrew Unterberger: Linkin Park just still make a little more sense in the streaming era than most of those bands, a virtue of its hybrid (yes, yes) sound and heavy production. That, combined with both the songs being very solid — and with the devastating and cruel way in which the band’s original run came to an abrupt end in 2017 — means that perhaps we were silly to underestimate the commercial potential for these tastes of new LP in the first place.
3. While “Lost” ended up being a majorly enduring rock radio hit, it only spent two weeks total on the Hot 100. Do you think the run for “Machine” on the chart will be similarly short-lived, or will it have greater legs?
Anna Chan: Let me shake my Magic 8 Ball, because I have no idea due to the confusing combo of nostalgia (yay!) and criticism (boo!). But since you asked, my guess is the chart run will be short-lived because the curiosity around Armstrong will fade. And while fans may have been elated about the band’s return after a lengthy hiatus, the quick backlash to having a singer with ties to convicted rapist Danny Masterson may hurt their overall momentum. (For the record, Armstrong has since addressed the issue, saying that she shouldn’t have supported Masterson at a court appearance — noting, “I misjudged him” — and that she hasn’t spoken to him since, and doesn’t condone any abuse or violence against women.)
Kyle Denis: I think off the basis of “Machine” being the lead single for a new album, it should have more juice behind it, and thus score a few more weeks on the Hot 100 than “Lost.”
Josh Glicksman: I don’t expect it to hang around too much longer than “Lost” on the Hot 100, though it may eke out another few weeks. That said, I fully expect the song to similarly dominate rock radio for many months to come, with the single soaring to No. 1 on the Rock & Alternative Airplay chart following its first full tracking week. “Lost” spent 20 weeks atop that chart; I’d guess that “The Emptiness Machine” will at least match that total.
Jason Lipshutz: “The Emptiness Machine” sounded like a straightforward rocker built around the dueling voices of Mike Shinoda and Emily Armstrong to me upon first listen, but the single has grown on me rapidly — I love how its momentum snowballs over the first two verses and choruses, pulls back during the harmonized bridge, then goes for the jugular on the final hook. Although I don’t think it will maintain its Hot 100 peak for long, I do believe its run on the chart will surpass that of “Lost,” as streaming audiences help bolster the early adoption from rock radio. The No. 21 debut defied the odds, and I think the breadth of its Hot 100 run will do the same.
Andrew Unterberger: Its greater debut and more interesting backstory might grant it another few weeks, but I don’t really see this being a much-longer-lasting Hot 100 hit, no. Its sales and streams already seem to be tapering off — though to be fair, not as quickly as with some other splashy-debuting new releases — and it’s unlikely pop radio is coming to swoop in with this song anytime soon.
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4. Do you think “Machine” captures the spirit of classic Linkin Park? Does Emily Armstrong seem like a logical fit as the band’s new frontwoman so far?
Anna Chan: It’s too early to judge based on just one song whether or not she’s a good fit. However, this rock-leaning music fan is eager to hear more from Armstrong. Her first verse in “The Emptiness Machine” didn’t grab me, but when she gets to the chorus and lets her raw, guttural vocals come out? Wooo! I’m letting Linkin Park cut me open just to jam more music into my ears.
Kyle Denis: For me, Chester’s voice is such a quintessential part of the band’s sound, that it still feels odd not hearing him. Nonetheless, I like hearing Emily on the record, it’s fun hearing her push her voice further than you’d expect before giving into a growl or a scream. She’s able to balance vulnerability and high-octane vocal thrills pretty effortlessly, which makes her an effective new frontwoman.
Josh Glicksman: Yes! It feels refreshed and modern, but perfectly at home in the canon of everything that has endeared the band to fans for the past 25 years. Armstrong feels like a logical fit as the band’s new frontwoman — and, importantly, she’s both honoring its legacy while giving the music her own touch, as she discussed in her Billboard cover story: “Going into these [older] songs, by a singular voice that’s beloved by so many people — it’s like, ‘How do I be myself in this, but also carry on the emotion and what he brought in this band?’ … There is a passion to it that I’m hoping I can fill.”
Jason Lipshutz: What I love about this new iteration of Linkin Park is that songs like “The Emptiness Machine” exist in the same universe as the band’s biggest hits, but expand it into new terrain instead of trying recapture any past magic. That’s why Armstrong works so well as a new co-vocalist: she can sing the hits in a live setting, but instead of functioning as a Chester Bennington impersonator, she helps the band grow in a different direction and balance out Shinoda in striking, unexpected ways. As someone who has heard more of From Zero than just “The Emptiness Machine,” I can say that I was impressed with the balancing act that the band pulls off — honoring their past without re-creating it, harkening back to earlier eras while making something new.
Andrew Unterberger: Ironically, the least classic Linkin Park-seeming part of this song is Mike Shinoda singing (not rapping) on the first verse — when Armstrong comes in on the second verse (and especially when she kicks in with the chorus), it feels almost like a correction to the natural order of things. Maybe that was the plan all along; if so it seems to have worked!
5. With Linkin Park and Oasis reuniting in 2024, who’s another long-dormant rock band who you’d love to see get back together in the not too distant future?
Anna Chan: What’s your definition of “long-dormant”? Because for greedy ol’ me, Nine Inch Nails has been too busy with the movie scores as of late, and I need them to get back in the recording studio and on the road. (And no, that 2022 tour that hit only 10 U.S. cities doesn’t count in my book, while the Cold and Black and Infinite tour was six long years ago.) I’d also appreciate if Rage Against the Machine would reunite and finish up the tour they cut short in 2022 (this political climate is begging for them) — or if The Cure (who might be teasing new music?) would do another trek so I can have a shot at tickets next time around.
Kyle Denis: Wishful thinking, but The White Stripes!
Josh Glicksman: Talking Heads. Sure, they’ve notably rebuffed a reunion several times in recent months, but give the people what they want! Even just a small handful of new singles will suffice.
Jason Lipshutz: As of this July, Jack White has released exactly as many studio albums under his own name as he did alongside Meg White as The White Stripes. It is time to tip the scales once again — we simply need the duo back, and the first White Stripes album since 2007.
Andrew Unterberger: There have whispers about Radiohead reassembling of late — still pretty quiet ones, but loud enough to remind me how it’s been eight years since their last album and six since their last tour. (And how they’re, y’know, one of the best bands ever.)
Fred again.., TZUYU and Rich Homie Quan all debut albums on the Billboard 200 chart (dated Sept. 21), though under extremely different circumstances.
Fred again..
The EDM star charts an album on the Billboard 200 for the first time this week with his new project Ten Days. The set debuts at No. 166 with 9,000 equivalent album units earned in the Sept. 6-12 tracking week, according to Luminate. It also becomes his fifth charting LP on Top Dance/Electronic Albums, opening at No. 3.
Here’s a look at his full history on Hot Dance/Electronic Albums:
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Peak Position, Title, Chart DateNo. 3, Actual Life 3 (January 1 – September 9 2022), 11/12/2022No. 10, Actual Life (April 14 – December 17 2020), 12/17/2022No. 24, Secret Life, 5/20/2023No. 4, USB, 6/29/2024No. 3, Ten Days, 9/21/2024
Fred again.. also lands eight songs from the album on the Hot Dance/Electronic Songs chart, including five debuts. Here a recap:
No. 17, “Just Stand There” with SOAK (debut)No. 19, “Places To Be” with Anderson .Paak & CHIKANo. 22, “Adore U” (re-entry)No. 23, “Ten” with Jozzy (re-entry)No. 27, “Glow” with Duskus, Four Tet & Skrillex (debut)No. 29, “Fear Less” with Sampha (debut)No. 37, “Peace U Need” with Joy Anonymous (debut)No. 40, “Backseat” with The Japanese House & Scott Hardkiss (debut)
He’s now charted 26 songs on Hot Dance/Electronic Songs in his career, dating to “Don’t Judge Me” with FKA Twigs and Headie One in 2021.
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TZUYU
The Taiwanese singer-songwriter has already made waves as a member of the South Korean group TWICE, but she’s now making a name for herself as a solo act.
Her six-song debut solo EP abouTZU: The 1st Mini Album, released through JYP/Imperial/Republic Records, debuts at No. 19 on the Billboard 200 (24,000 units). It also starts at No. 1 on World Albums.
TZUYU remains an active member of TWICE, and has been since 2015. The group has carved out a successful history on Billboard’s charts, including seven charting projects on the Billboard 200. It earned its first No. 1 earlier this year with its EP With YOU-th.
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Rich Homie Quan
The rapper returns to Billboard’s charts following his death on Sept. 5 with an 11-year-old mixtape.
I Promise I Will Never Stop Going In, released in November 2013, debuts at No. 110 (11,000 units; up 230%). The project includes “Walk Thru,” featuring Problem, which reached No. 74 on the Hot 100 in 2014.
Rich Homie Quan had charted two other projects on the Billboard 200 before this week: Back to the Basics (No. 84 peak in 2017) and his debut studio album Rich As In Spirit (No. 32; 2018).
Quan’s entire music catalog also had a surge in attention following his death. In the latest tracking week (the most recent following his death; Sept. 6-12), his catalog generated 44.2 million on-demand official U.S. streams, according to Luminate, a 227% gain from the week prior.
Rich Homie Quan (real name: Dequantes Lamar) died on Sept. 5 at an Atlanta hospital. A cause of death has not yet been announced.
Linkin Park’s “The Emptiness Machine” shoots to No. 1 on Billboard’s Hot Hard Rock Songs chart dated Sept. 21, ahead of a slew of favorites from the band’s decades-long catalog that spiked after the release of its comeback single and the announcement and launch of its new mini tour.
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In the week ending Sept. 12, the first full week of tracking for “The Emptiness Machine” (it was released at 6 p.m. ET on Sept. 5), the song earned 13.4 million official U.S. streams, 9.2 million radio audience impressions and sold 8,000 downloads, according to Luminate.
The count of 13.4 million streams is the second-biggest for any hard rock song since Luminate began tracking U.S. streaming activity and the largest for any newly released hard rock tune. The only frame in which any song went bigger: Queen’s “Bohemian Rhapsody,” which accumulated 13.9 million streams toward the Billboard charts dated Nov. 24, 2018, amid the release of the Queen biopic of the same name that fall.
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In fact, only 10 hard rock songs have reached Billboard’s all-genre Streaming Songs chart since its 2013 inception, with “The Emptiness Machine” becoming the 10th via its No. 19 bow. Four of those are from Linkin Park; in addition to “The Emptiness Machine,” the band appeared with two songs – “Numb” at No. 29 and “In the End” at No. 32 – on the Aug. 12, 2017, ranking following the death of co-frontman Chester Bennington. “Lost” followed with a No. 32 debut in 2023.
Of that 10-song group, only “Lost” and “The Emptiness Machine” were new releases, as the rest either spiked due to news events or viral videos.
“The Emptiness Machine” tops Hot Hard Rock Songs after debuting at No. 7 a week earlier with 1.1 million audience impressions, 690,000 official U.S. streams and 1,000 sold Sept. 5.
The track is the third Linkin Park song to reign on Hot Hard Rock Songs, which began in 2020. “In the End” led for two weeks in 2021, helped by iTunes sale-pricing, and “Lost” ruled for 16 frames, released as part of the 20th anniversary reissue of the Linkin Park album Meteora.
“In the End” is one of four songs from Linkin Park’s catalog to reach Hot Hard Rock Songs and the parent Hot Rock & Alternative Songs chart dated Sept. 21 (where older songs are eligible to appear if ranking in the latter list’s top half and with a meaningful reason for their return).
“Numb” leads the group, at Nos. 2 and 12 on Hot Hard Rock Songs and Hot Rock & Alternative Songs, respectively. In the week ending Sept. 12, the song accumulated 6.4 million official U.S. streams and sold 1,000 downloads.
“In the End” is next (Nos. 3 and 15) with 5.9 million streams and 1,000 sold, followed by “One Step Closer” (Nos. 4 and 21, respectively) with 4.2 million streams and “Faint” (Nos. 5 and 25) with 3.6 million streams.
All five songs, plus “What I’ve Done,” make the Hard Rock Streaming Songs chart, with the No. 1 debut of “The Emptiness Machine” marking Linkin Park’s second ruler, following “Lost.”
“In the End” (2001), “Faint” (2003), “Numb” (2003) and “What I’ve Done” (2007) each hit No. 1 on Billboard’s Alternative Airplay chart upon their original runs, while “One Step Closer” peaked at No. 5 in 2001.
The gains extend to Billboard’s albums charts; Linkin Park boasts three appearances on Top Hard Rock Albums, paced by Meteora at No. 1 (17,000 equivalent album units earned) and followed by [Hybrid Theory] (No. 2, 16,000 units) and Papercuts (No. 6, 11,000 units). Those three albums also appear on the all-format Billboard 200, Meteora leading the haul at No. 47.
All in all, Linkin Park’s catalog drew 72.9 million official on-demand U.S. streams in the week ending Sept. 12 – up 91% from 38.2 million in the week ending Sept. 5.
In addition to its reign on Hot Hard Rock Songs and its component Hard Rock Streaming Songs list, “The Emptiness Machine” tops Hard Rock Digital Song Sales and hits No. 1 on Rock & Alternative Airplay, as previously reported.
“The Emptiness Machine” is the lead single from From Zero, Linkin Park’s upcoming eighth studio album and first with new members Emily Armstrong on vocals and Colin Brittain on drums, following the death of Bennington and departure of longtime drummer Rob Bourdon. It’s scheduled for release Nov. 15.
Tamela Mann earns her record 11th No. 1 on Billboard’s Gospel Airplay chart as “Working for Me” ascends to the top of the tally dated Sept. 21. It increased by 6% in plays Sept. 6-12, according to Luminate.
With the song, which Mann co-authored with Phillip Bryant and Tameka Mintze, she breaks out of a tie with fellow format cornerstone Kirk Franklin for the most No. 1s on the chart, which began in March 2005. James Fortune & FIYA follow with nine leaders, while Jekalyn Carr, Todd Dulaney, Tasha Cobbs Leonard and Marvin Sapp are next with seven apiece.
“My greatest joy is to be able to encourage people and uplift them. I never dreamed that I could reach people on this level, but I am so thankful,” Mann tells Billboard. “I’m grateful that God has given me the opportunity and platform to share my music and His message with the world and impact lives in a positive way. I have tears of joy, and I want to thank everyone for your love and support on this journey together.”
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With “Working For Me,” Mann also earns her fifth Gospel Airplay No. 1 in a row. The song follows “Finished,” which dominated for three weeks starting last March; “He Did It” (two, May 2022); “Help Me” (four, beginning in September 2021); and “Touch Me” (five, starting in December 2020).
Mann matches Cobbs Leonard, also on an active run, for the most consecutive Gospel Airplay chart-toppers among women. Overall, Dulaney and Jonathan McReynolds are tied for the most back-to-back No. 1s with six consecutive chart-toppers each.
Winans’ ‘King’ Rules for 20th Week
On Billboard’s multimetric Hot Gospel Songs survey, CeCe Winans’ “That’s My King” rolls up its 20th week at No. 1.
The hit becomes the 15th to lead Hot Gospel Songs for 20 weeks or longer since the chart began in 2003. Elevation Worship and Maverick City Music’s “Jireh,” featuring Chandler Moore and Naomi Raine, boasts the longest reign (86 weeks starting in April 2021), followed by Marvin Sapp’s “Never Would Have Made It” (46 weeks, beginning in August 2007); and Kirk Franklin’s “Wanna Be Happy?” (45 weeks, starting in September 2015).
“That’s My King” became Winans’ third Hot Gospel Songs chart No. 1 in May and has logged an uninterrupted run in charge. Concurrently, it rises 6-5 on Hot Christian Songs, returning to its best rank. During the tracking week, it collected 6.3 million all-format radio impressions, 1.3 million official U.S. streams and 1,000 sold.
With the first quarter of the 21st century coming to a close, Billboard is spending the next few months counting down our staff picks for the 25 greatest pop stars of the last 25 years. We’ve already named our Honorable Mentions and our No. 25, No. 24, No. 23, No. 22, No. 21, No. 20, No. 19, and No. 18 stars, and now we remember the century in Shakira — who transformed Latin pop with her groundbreaking early-’00s crossover, soared to global fame with hits like “Hips Don’t Lie” and “Waka Waka” and influenced a new generation of artists across multiple genres.
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At the dawn of the 21st century, Shakira not only emerged as a global musical force, but reshaped how Latin artists crossed into the mainstream, and thrived there. As the millennium turned, the concept of a Latin pop artist dominating worldwide charts in two languages was more aspirational than realistic. This was despite some crossover successes seen in the late ’90s — artists like Jennifer Lopez sang primarily in English, and only a few, such as Selena and Ricky Martin, made significant impacts while performing extensively in Spanish. Yet, Shakira artfully bridged this gap, turning it into a cultural spectacle in 2001. Blending her Colombian roots with a sharp pop sensibility, she not only broke through linguistic barriers, but also set the stage for the breakthroughs enjoyed by non-English speaking artists to follow.
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Today, the 15-time Latin Grammy winner is widely considered the most successful female Latin artist of all time, with 95 million records sold over her three-decade career. Many of her songs have become more than hits, but rather pivotal cultural moments that showcase her as a multidimensional superstar. From the Hot 100 No. 1 juggernaut “Hips Don’t Lie” to the FIFA World Cup banger “Waka Waka” and the unapologetic diss track “Shakira: BZRP Music Sessions, Vol. 53” with Bizarrap – released, respectively, across the first three decades of the 21st century – her tracks have become staples at global gatherings, turning sports anthems into pop phenomena and solidifying her status as an international music ambassador.
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Fresh off conquering Latin America with her wildly successful third and fourth studio albums — 1995’s Pies Descalzos and 1998’s Dónde Están Los Ladrones? — Shakira, a belly-dancing, guitar-playing, drum-pounding singer/songwriter, transformed her image and sound to kick off the new millennium. Trading her rockera brunette locks for a sexy blonde look, she set her eyes on the English-language market and released the groundbreaking Laundry Service in November 2001. Propelled by timeless hits like “Whenever, Wherever” and “Underneath Your Clothes,” which climbed to No. 6 and No. 9 on the Hot 100, respectively — the album reached a No. 3 peak on the Billboard 200. The LP was both a commercial triumph and a cultural milestone for Latin pop.
In the peak teen-pop era of TRL, Shakira distinctively carved out her niche as an alternative-leaning pop artist — complete with dirty blonde hair with occasional black streaks and braids, and a hippie-rocker look. An exceptional dancer and multi-instrumentalist with a genuine rock edge, she also stood out as a songwriter who uniquely adapted her lyrical style to English — a language she had only recently learned. Her instantly recognizable voice carried a deep, powerful tone laden with emotional cries, reminiscent of Mercedes Sosa’s depth and Alanis Morissette’s raw energy. Yet, it was entirely her own, and her combination of talents and novel approach made Shakira a unique presence in early 2000s pop, challenging conventional norms and paving a new path towards stardom.
Shakira
Clive Mason/Getty Images
Shakira
Europa Press/Europa Press via Getty Images
As Shakira’s presence on the world stage expanded, she continued to break new ground. Released in June 2005, Fijación Oral, Vol. 1 marked her sixth studio album, and first while on top of the world. Despite her major pop success singing in English on Laundry Service, she still decided to return to singing in Spanish for its follow-up — a risky move that nonetheless paid off both artistically and commercially. Co-produced by luminaries like Gustavo Cerati, Lester Méndez, Luis Fernando Ochoa and José “Gocho” Torres, singles like “No”, “Días de Enero”, “Las de la Intuición” and “La Tortura” with Alejandro Sanz gained wide recognition. Particularly notable was her team-up with the Spanish superstar Sanz, one of the first examples of a major collaboration in Latin music, at a time when such partnerships were rare. Largely praised as one of the best duets of the 2000s, the pop-reggaetón track helped set a precedent for future collaborations across the industry. The latter song became the biggest hit of the set, and the only one that entered the Hot 100.
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The album debuted at No. 4 on the Billboard 200, the first all-Spanish set to break to the chart’s top 5. Fijación Oral, Vol. 1 also spent 17 weeks at No. 1 on Top Latin Albums, the most for the Colombian star at the top of the ranking. She quickly followed that set with Oral Fixation, Vol. 2, the English-language counterpart to the Spanish-sung Vol. 1, released that November. Here, Shakira continued to explore new musical territories, venturing more into mainstream pop and rock, marking a noticeable shift from her Latin pop roots and Middle Eastern influences. This album saw her collaborating with iconic musicians such as Carlos Santana on “Illegal” and Gustavo Cerati on “The Day and the Time,” though these tracks, despite the star-studded lineup, didn’t achieve the impact expected.
However, “Hips Don’t Lie,” featuring Wyclef Jean, was added the following year to Shakira’s Vol. 2 in a reissue aimed at boosting the album’s sales, after lead single “Don’t Bother” had underwhelming commercial success. This move helped the album experience a significant revival, boosting it from No. 98 all the way to the top 10 that May. Blending salsa and reggaetón with a Jerry Rivera sample, the song also catapulted to the top of the Hot 100, becoming Shakira’s only No. 1 to date on the all-genre chart and remaining there for two weeks. Despite the album’s rocky start, the LP was ultimately redeemed by the massive success of “Hips,” which has endured as one of the best-remembered pop songs of that entire era (and one of our staff’s top 500 pop songs of all time).
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The Colombian superstar continued to pour out more records, and released She Wolf in October 9, 2009 — which snarling electropop title track ended up becoming her moniker up to this day, and reached No. 11 on Hot 100 and No. 1 on Dance Club Songs. The album was followed by the more back-to-basics Sale el Sol on 2010, which returned Shakira to the Billboard 200’s top 10, peaking at No. 7. Prior to these, in 2007, she also united with superstar Beyoncé on “Beautiful Liar,” marking an unprecedented collaboration of its time, an American pop icon and a Latin sensation. The song reached No. 3 on the Hot 100.
While she continued to prove her trendsetting and hit-making prowess as a singles and albums artist, she also established herself as a powerhouse in the live performance arena. Her electrifying performance at the 2010 FIFA World Cup in South Africa, where she sang the tournament’s official trilingual anthem “Waka Waka (This Time for Africa),” featuring Freshlyground, became a global call to unity, reflecting the spirit of the tournament and further establishing Shakira as a beloved global icon. (It was also there where she met her former partner, soccer star Gerard Piqué, who she would have two children with and be with for over a decade.) This wasn’t Shakira’s first World Cup performance; she debuted in 2006 with “Hips Don’t Lie” at the closing ceremony in Germany, returned for South Africa, and again in 2014 in Brazil, where she released “La La La” featuring Carlinhos Brown.
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Shakira’s musical journey saw continued success with the release of her eponymous 2014 album and 2017’s El Dorado. The former became her highest-peaking album on the Billboard 200, reaching No. 2, and the latter soared to the No. 1 position on Top Latin Albums for five weeks, also dominating the Latin Pop Albums chart for an impressive 63 weeks. Although these achievements maintained her relevance, they couldn’t quite match the explosive impact of her early 21st-century successes. However, notable hits from these albums, like the Shakira-Rihanna collaboration “Can’t Remember To Forget You” and “Chantaje” featuring the then-rising Colombian pop star Maluma, made significant inroads on the Hot 100.
Yet, there was perhaps no greater proof that Latin music cemented its place in American pop culture in the 2020 Super Bowl LIV halftime show, when Shakira and Jennifer Lopez took the world’s biggest stage together on February 2. Shak’s set was thoroughly Latin, featuring a lineup of her Spanish-language hits and dance styles that highlighted her Colombian (and Lebanese) heritage, including champeta and mapalé, an Afro-Colombian dance. This made her performance distinct compared to other Super Bowl halftime shows, aside from Gloria Estefan who performed three times in the ‘90s. The set also featured then-rising global stars Bad Bunny and J Balvin, bringing their own tropical-urbano flair. In contrast, J.Lo delivered more of a razzle-dazzle, high-energy set, reminiscent of a Las Vegas show.
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Two years later, Shakira found herself making big headlines again – this time not for her musical achievements or jaw-dropping performances, but for her widely publicized breakup (and tax issues). In early 2022, rumors had swirled that Shakira was ending her 11-year relationship with Gerard Piqué. That June, they confirmed their split, igniting a flurry of tabloid speculation about the soccer player’s infidelity with a younger, 23-year-old woman he reportedly started dating soon after. This personal turmoil attracted intense media scrutiny, with paparazzi besieging Shakira’s home and her children’s school in Barcelona, transforming a private family ordeal into a full-blown media circus.
As much public embarrassment as the relationship fallout caused Shakira, it also helped inspire her most commercially successful period in at least a decade. At the start of 2023, she released the explosive electropop diss track, “Shakira: Bzrp Music Sessions, Vol. 53” with Argentine hitmaker Bizarrap. Her explicit finger-pointing and unapologetic storytelling marked a significant departure from the usual veiled references in breakup songs, as she provided intimate details of her breakup, leaving no room for ambiguity by naming names and addressing personal drama head-on. With bars like “Las mujeres ya no lloran, las mujeres facturan” (“Women don’t cry anymore, women cash in”), the self-proclaimed She Wolf penned a new manifesto of female empowerment, challenging the double standards imposed on Latin women in society. The song became the most viewed clip on YouTube for a Latin track in its first 24 hours, with 63 million views, and marked multiple Billboard milestones, including making Shakira the first female vocalist to debut in the top 10 of the Billboard Hot 100 with a Spanish-language track; it also won song of the year and best pop song at the 2023 Latin Grammys.
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The hits kept rolling in, as Shakira scored another Hot 100 top 10 with Karol G on their much-anticipated teamup “TQG.” Together, the two biggest Colombian female pop stars one generation apart delivered the ultimate tabloid-pop hit; Karol G also addressed her tumultuous breakup with Puerto Rican trap star Anuel AA. Both “Vol. 53” and “TKG” reached the Hot 100’s top 10, and “TQG” topped the Billboard Global 200. The song became Karol’s first top 10 hit, and still her only top 10 hit to date.
Shakira essentially spent the rest of the year collecting accolades for her spectacular comeback and overall legacy. In May 2023, Billboard honored Shakira as its first ever Latin Woman of the Year; in July, Premios Juventud gave her its Agent of Change Award. In September, she received the Michael Jackson Video Vanguard Award at the MTV Video Music Awards — the first South American artist to receive it — where she also performed a dazzling, 10-minute medley of hits.
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Nonetheless, in her 2023 cover story with Billboard, Shakira revealed that for the past seven years, she had been sidetracked by family matters and life in Barcelona, far from music industry action. Her focus shifted following her romantic split, when she cathartically began pouring her heart into her music. Further hits followed: “Te Felicito,” with Rauw Alejandro, climbed to No. 10 on Hot Latin Songs and No. 67 on the Hot 100 in May and June of 2022, respectively; in November, “Monotonía,” with Ozuna (its video shows Shakira’s heart being ripped out and crushed by a shoe), climbed to No. 3 on Hot Latin Songs.
With a gap of seven years since El Dorado — due to Piqué “dragging” her down, in her words — Shak triumphantly released Las Mujeres Ya No Lloran in March 22, 2024. The album, her 12th studio effort, showcased a hodgepodge of sounds, from infectious Afrobeats to soulful bachata, Tex-Mex rhythms and even a return to her rock roots. It quickly garnered critical acclaim, also debuting at No. 1 on both the Top Latin Albums and Top Latin Pop Albums charts. This milestone marked Shakira as the first woman to top these charts across four decades. Continuing her journey as a monumental force, Shakira is set to return to the stage with Las Mujeres Ya No Lloran World Tour, kicking off November 2, on her first tour since 2018 with El Dorado World Tour.
Shakira
Noam Galai/Getty Images for MTV
Shakira’s early foresight in blending Spanish and English within her music paved the way for today’s artists, who now benefit from the doors she helped to open. Reflecting on the music industry today, superstars like Bad Bunny, J Balvin and Karol G navigate high-profile careers entirely in Spanish, a testament to how far the industry has evolved from the days when bilingual or English-language offerings were deemed necessary for true crossover success.
With the tremendous and more recent success of superstars like Bunny, Balvin, Karol, and also música mexicana stars like Fuerza Regida and Grupo Frontera — both collaborators on her latest album — their momentum has also helped legacy Latin artists like Shakira maintain their relevance and influence amid the surge of Latin music, currently the fastest-growing genre in the U.S. With the 2024 Latin Grammy nominations announced on Tuesday (Sept. 17), Shakira continues to garner recognition: She is currently nominated for three awards, including album of the year for Las Mujeres Ya No Lloran, song of the year for the Tex-Mex-leaning “(Entre Paréntesis)” with Grupo Frontera, and best Latin electronic music performance for “Bzrp Music Sessions, Vol. 53 (Tiësto Remix).”
Shakira’s saga, marked by groundbreaking successes and personal challenges, epitomizes the journey of a true pop titan in the 21st century. Charting a path that brought Latin rhythms into mainstream global consciousness, her countless hits and charismatic stage presence have not only defined her career but also substantially influenced the current musical landscape. Moreover, her resilience and adaptability exhibit a model of empowerment and artistic authenticity. By weaving through personal hardships and consistently emerging on top, Shakira has not merely navigated the complex terrains of global pop music but has left an indelible mark on it. As we celebrate her as one of the greatest pop stars of this era, Shakira remains a pillar of innovation and resilience. After all, her hits don’t lie.
Read more about the Greatest Pop Stars of the 21st Century here — and be sure to check back on Thursday when our No. 16 artist is revealed!
The first year of the TikTok Billboard Top 50 chart featured an array of music that reached the fledgling ranking’s upper reaches, with 21 songs topping the weekly ranking from its inception as of the Billboard charts dated Sept. 16, 2023.
Tommy Richman’s “Million Dollar Baby,” however, was a leg above the rest.
From its coronation at No. 1 on the May 18 survey (after debuting at No. 2 the previous week) to its to-date final week atop the ranking (July 20), Richman’s summer hit crowned the TikTok Billboard Top 50 for 10 uninterrupted weeks. What’s more: as of this writing, “Million Dollar Baby” has never fallen below No. 6. In fact, the latest weekly chart (Sept. 14) finds it up one spot to No. 5.
But “Million Dollar Baby” is a fitting longest-running No. 1 for the chart’s inaugural year. To recap the story you’ve probably already been told: on April 13, Richman uploaded a 14-second clip of the song to his TikTok. It exploded immediately, having racked up nearly 14 million plays as of mid-September. Two days later, he was posting more clips featuring different music, but the demand in the comments was clear: “Drop million dollar baby rn,” one read. He released the song “Selfish” a few days later on April 19, and yet the pleas persisted: “More million dollar baby clips.”
The next week, it happened. After a few more videos promoting its impending release (including one from April 23 that has even more views – over 18 million – than the original), Richman dropped “Million Dollar Baby” on April 26, and the song immediately shot to the top of the TikTok Billboard Top 50, as well as charts worldwide. On the multimetric Billboard Hot 100 (which does not include any TikTok activity), it both debuted and peaked at No. 2 on the May 11 tally and spent the next nearly four months in the top 10.
Pent-up demand for the song helped drive initial numbers, but in the months since, “Million Dollar Baby” has had its own dance trend that’s dominated the conversation. By the end of the summer, TikTok crowned the tune its song of the summer.
Read on for more highlights of the TikTok Billboard Top 50’s chart’s first year. You can see the latest TikTok Billboard Top 50 chart here, and 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.
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