Chart Beat
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It’s been a hell of a year for singer-songwriter Gracie Abrams, who’s made the jump from acclaimed cult favorite to pop hitmaker — and perhaps just straight-up pop star.
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Abrams, who undoubtedly received a boast from her opening slot on the biggest tour in modern pop history, scored a career-best ranking on the Billboard 200 this summer when her The Secret of Us debuted at No. 2, with tracks “Close to You,” “Risk” and the Taylor Swift-assisted “Us” all hitting the Billboard Hot 100. A few months after, the album’s “I Love You, I’m Sorry” went viral on TikTok, ultimately reaching the Hot 100’s top 20. And now “That’s So True,” a bonus track from the Secret deluxe edition, has bested them all, jumping from No. 13-6 this week to become Abrams’ first-ever Hot 100 top 10 hit.
What’s been responsible for Abrams’ recent surge of momentum? And what kind of chances does the song have of heading off Shaboozey’s historic “A Bar Song” run at No. 1?
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1. A few weeks after being released as a bonus track on the deluxe The Secret of Us “That’s So True” rides serious streaming momentum this week to become Gracie Abrams’ first top 10 hit. What do you think it is about this song that’s helped her reach new chart heights that not even the singles off Secret could reach?
Katie Atkinson: There are so many reasons I personally love this song. There’s the ’90s vibes (this could have had such a huge Pacey/Joey moment on a Dawson’s Creek mid-season finale). There’s the lyrics that are somehow both uber confident and self-conscious. There’s the under-three-minute runtime that never ceases to convince me to immediately run the song back as soon as it’s finished. There’s that great songwriter trick of writing about something so specific that it somehow ends up feeling universal. And there’s that epic bridge that must make Gracie’s Eras Tour-mate feel like a proud parent. Mostly, it’s just a great song that begs for repeat listens, and streaming is there to make that easier than ever.
Kyle Denis: In addition to being a song filled with accessible, relatable lyrics and a vocal affect that recalls the best of Taylor Swift and Lorde’s conversational approach to pop singing, “That’s So True” is a prime case study in momentum. Arriving as the fourth overall single from The Secret of Us, “That’s So True” automatically has the biggest potential audience out of all the album’s singles because it can build on their success. Each Secret of Us single has reached a higher Hot 100 peak than the last. When you couple that with the incomparable platform that is being an opener for the final leg of Taylor Swift’s Eras Tour, all the pieces were perfectly placed for “That’s So True” to become Abrams’ biggest chart hit yet.
Rylee Johnston: What really helped with the momentum of the song is the way she teased her fans with the song during live performances before it was ever released. She was able to drum up excitement and build an anticipation of “when is she going to drop the song?” Once she released the deluxe version of her album, it made sense that her fans would be eager to stream and listen to it repeatedly.
Jason Lipshutz: “That’s So True” crystallizes Gracie Abrams’ songwriting appeal, and arrived at a time when her momentum allowed for a fast-moving top 10 hit. Abrams’ aesthetic took a massive leap between last year’s Good Riddance and this year’s The Secret of Us, and “That’s So True” features both her most immediate hooks and a more defined point of view than past singles — you get the sense that no one else could deliver it quite like Abrams. Combined with the upward trajectory of her live audiences and streaming numbers, “That’s So True” was primed to be a breakthrough hit.
Andrew Unterberger: It just feels like her strongest song yet. It helps that audiences are more familiar with Abrams now and the hallmarks of her singing and songwriting, so a new song feels like a natural fit in our lives, but there’s a reason this song took off more than any of the other newly released tracks off the deluxe Secret of Us — it’s classic enough to feel recognizable right away, regardless of our Abrams familiarity level.
2. Though this is her first top 10 hit, obviously Abrams has been rising for some time now, with “I Love You, I’m Sorry” even reaching the top 20 recently. What is the biggest reason for her surge in 2024 momentum, do you think?
Katie Atkinson: Of course her placement on Taylor Swift’s Eras Tour was incredibly impactful for building a fanbase, but then Abrams put out her best work yet with The Secret of Us and was able to immediately capitalize on all that newfound interest. Just like Sabrina Carpenter before her, the Eras Tour opening slot puts you in front of more eyeballs then ever before, but you have to have the excellent music to back it up
Kyle Denis: Most of Abrams’ 2024 momentum can be credited to moves she made the year prior. She spent most of 2023 playing stadiums on the Eras Tour, which granted her the chance to win over the tens of thousands of fans that packed out those venues each night. Given the similarity of her music to Swift’s, that wasn’t too difficult of a feat for her to pull off. The tail-end of 2023 also found Abrams linking with Noah Kahan – one of that year’s biggest breakout stars – for “Everywhere, Everything,” which helped her snag her very first Hot 100 entry, building off the early momentum she earned with her debut LP at the start of the year. All she needed was one undeniable single to reach the next level of pop stardom.
Rylee Johnston: The Eras tour has definitely helped Abrams in gathering a larger audience and I’m sure her time as an opener has come with some advice from Taylor Swift. At the scale that the Eras tour is at, she’s able to test things out and play her music to thousands of people across the globe, while picking up new fans along the way who may not have heard of her beforehand.
Jason Lipshutz: Earning a best new artist Grammy nod, opening for Taylor Swift’s Eras Tour and headlining her own shows obviously helped increase Abrams’ profile — but simply put, these songs are stronger, more distinct and revealing of Abrams’ perspective than those on her debut. While “I Love You, I’m Sorry” became a viral hit and “That’s So True” a deluxe-edition smash, The Secret of Us tracks like “Risk,” “Close to You” and the Swift collaboration “Us” boast top-notch pop craft, and have each earned hundreds of millions of streams. After a promising debut that yielded a bigger platform, Abrams delivered a great sophomore LP, and is reaping the benefits now.
Andrew Unterberger: This is sorta facile to say, but I think artists like Abrams — who have a strong writing voice and an already devoted fanbase — reach a tipping point of mainstream popularity where the world just kinda opens to them. Maybe Eras got her through the door, maybe she woulda gotten there anyway, but she’s in the building now, and she’s just gonna keep elevating to higher floors from here.
3. Most of the talk about the breakout pop stars of 2024 has centered around Sabrina Carpenter and Chappell Roan — is it time to start including Abrams in that conversation, do you think, or is she still to early in her development for that?
Katie Atkinson: It’s definitely time. Abrams has had a different trajectory than those two examples – most notably, she was nominated for best new artist at the Grammys earlier this year, whereas Roan and Carpenter are facing off in that category at the 2025 ceremony. She might be one hit away from truly reaching the spot Sabrina and Chappell now occupy, so maybe 2025 will be even bigger for Gracie.
Kyle Denis: I think it’s too early. I’m happy to have that conversation next year, but until Abrams is pulling festival crowds the size of the one Chappell pulled at Lollapalooza – or simultaneously three solo songs from the same album in the Hot 100’s top ten for multiple weeks à la Sabrina, for that matter – we can pump the brakes.
Rylee Johnston: I don’t think she’s far off, but she’s still new to this level of the industry and I think she’s still taking time to hone and perfect her craft. That’s not to say it isn’t coming anytime soon though: Give it a year or two and I bet we will see Abrams at their level.
Jason Lipshutz: It’s absolutely time to include Abrams, because, like Carpenter and Roan, her rise has been defined by more than one song. If Abrams had simply scored a single modest hit from The Secret of Us, then I’d be a little more dubious about the reach of her stardom — but “That’s So True” is a top 10 hit, “I Love You, I’m Sorry” is a fan favorite turned viral smash, and her Taylor Swift team-up is nominated for a Grammy. Maybe Carpenter or Roan could command bigger audiences at this moment, but this isn’t a competition; all three artists deserve to be recognized for a breakout 2024 that has set up years-long runs for each of them.
Andrew Unterberger: If it’s not time yet, it will be by the end of the year, or next January / February at the latest. She’s done it a little slower and more quietly than Roan and Carpenter, but what she’s building is just as real and sustainable — and we’ll see the fruits of it on her next album, if not earlier.
4. How much bigger do you think “That’s So True” can still get from here? Will we see it unseat Shaboozey from No. 1 before the Christmas rush takes over?
Katie Atkinson: Between Shaboozey and Christmas, I don’t know if “That’s So True” will have the juice to get all the way to No. 1. But I wouldn’t be surprised if it climbs higher in the top five over the next few weeks, as curiosity (and airplay) grow. This is the kind of song that could kick around the top 10 for a very long time.
Kyle Denis: “That’s So True” is in a tough spot because while I believe it has a lot of room to grow, the song will almost certainly be kneecapped by the incoming surge of holiday songs and year-end hoopla. If it doesn’t unseat “A Bar Song” next week, I fear Mariah will enter the ring as her second major opponent the following week.
Rylee Johnston: It’s tough, “A Bar Song” has lasted a historic run and has held strong even against major contenders like Beyoncé, Billie Eilish, Swift and Carpenter. I’d personally love to see it happen, but I think Shaboozey may continue his reign on top until the holidays. I don’t think she’s stopped climbing though, I just don’t think it has enough power with this much time left of the year to reach No. 1.
Jason Lipshutz: If we had another month before the holiday onslaught, then I’d say probably — but really, we’ve got a week or so before Mariah, Brenda and Burl come for us all. Unless “That’s So True” can blast to the top of the Hot 100 before the calendar flips to December, I’d say that its best chance at hitting No. 1 will be in mid-January, if its momentum can keep up for a few months.
Andrew Unterberger: I think if it gets to No. 1 it won’t be until comfortably into next year. It’s gonna need some major radio help, and radio is still too busy testing the waters with the couple Abrams singles before this (“Close” and “Sorry”) to give this song the attention it probably deserves. It’s just a question of if the song’s streaming and cultural power remains potent enough to force radio to shift attention to it — and if it can maintain that streaming hold for long enough to take advantage of it finally spreading across the airwaves.
5. Abrams has a major platform still at her disposal for another few weeks in her opening role on the Eras Tour. If you were on her team, what (if anything) would you advise Abrams to do in her final concerts to potentially drive additional interest in the song?
Katie Atkinson: She still has the music video in her back pocket, and even if she doesn’t unveil the video during her Eras Tour set (it doesn’t seem likely she would do that on Taylor’s stage), the mere mention that a video exists onstage could go a very long way.
Kyle Denis: Right now, I encourage her to keep doing what she’s doing. Continue using different versions of the song’s sound on TikTok and letting it reach people organically. It’s still early in the song’s run, so pulling out the big guns is probably unwise. But once January rolls around, start fielding possible remix options. I’d love to hear Clairo or Maggie Rogers on this, but maybe we should go with a more unexpected pick like Rachel Chinouriri or Faye Webster? Something tells me that this isn’t the kind of song that needs an A-lister remix to reach its full potential.
Rylee Johnston: The ultimate tactic would be another duet with Swift, but if that’s not as easy to execute, then coming up with another viral moment is key to keeping her song relevant. Whether she takes a page from the “Fortnight” singer and changes a lyric in the song or mashes it up with another song, those are just a few things that can drum up further excitement.
Jason Lipshutz: Maybe the official music video premieres live during Abrams’ final opening set of the Eras tour? Yet if the goal is a shot at No. 1, I’d drop the visual on Jan. 1, 2025 — start off the new year but making an end-of-2024 smash even bigger, at a moment when the holiday music is being stored away for another year.
Andrew Unterberger: With the song’s “Smiling through it all, yeah, that’s my life” lyrics referencing one of LeBron James’ most iconic social media moments, how about getting the King to show up to one of the remaining Toronto dates to provide a guest verse or some backing harmonies on it or something? Are the Lakers playing the Raptors any time in the next week?
Perhaps making the wait for a parking spot at the mall during the holidays not seem so long by comparison, Dean Martin’s “It’s Beginning to Look a Lot Like Christmas” enters Billboard’s Adult Contemporary survey — nearly 72 years after the legendary entertainer recorded it.
The carol debuts on the ranking (dated Nov. 23) at No. 30.
The song was released at last on Oct. 14. Per a press release, it is Martin’s earliest known holiday recording, and his only recorded version of the classic carol, which Meredith Willson wrote in 1951. The performance is from a radio broadcast on Dec. 16, 1952, as part of NBC’s The Martin and Lewis Show that starred Martin and Jerry Lewis. (Their guest that week: Ginger Rogers.)
A new animated video for Martin’s “It’s Beginning to Look a Lot Like Christmas” premiered Nov. 14.
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Martin, who died on Christmas Day in 1995 at age 78, extends his span of hits on the Adult Contemporary chart (which began in the July 17, 1961, Billboard issue) to 60 years, four months and three weeks, dating to his iconic “Everybody Loves Somebody” in 1964. The song became his first of five No. 1s on the chart that he notched through 1968.
Only Nat King Cole narrowly boasts a longer span of Adult Contemporary entries: 60 years, five months and two weeks, from 1961 through 2022, when a new version of the revered late singer’s signature holiday hit “The Christmas Song (Chestnuts Roasting on an Open Fire),” with John Legend, reached No. 29.
Last holiday season, Martin also added to his chart history when “Let It Snow, Let It Snow, Let It Snow” rose to a new No. 7 high on the all-genre, multimetric Billboard Hot 100. The song, from 1959, first hit the top 10 over the 2020-21 holidays, becoming his fourth song to reach the tier. “The King of Cool” posted his first three top 10s in 1964-65: “Everybody Loves Somebody” (No. 1, one week), “The Door Is Still Open to My Heart” (No. 6) and “I Will” (No. 10).
To date, two versions of “It’s Beginning to Look a Lot Like Christmas” have hit the Hot 100, by Perry Como and the Fontane Sisters with Mitchell Ayres and His Orchestra (No. 12, 2020) and Michael Bublé (No. 19, 2023). The recordings have also both reached No. 8 on Billboard’s Holiday 100 chart, where, additionally, Johnny Mathis’ version has jingled to No. 15 and Bing Crosby’s, with Jud Conlon’s Rhythmaires and John Scott Trotter and His Orchestra, has dashed to No. 18.
Jekalyn Carr’s “You Carried Me,” featuring Tasha Cobbs Leonard and Blanca, ascends a spot to No. 1 on Billboard’s Gospel Airplay chart dated Nov. 30. During the Nov. 8-14 tracking week, the single increased by 10% in plays, according to Luminate. For Carr, the song, which she solely authored, marks her eighth leader on the […]
The combined might of Eric Benét and Tamar Braxton helps both artists reclaim the No. 1 spot on Billboard’s Adult R&B Airplay chart after a considerable absence. Their duet, “Something We Can Make Love To,” climbs from the runner-up spot to lead the list dated Nov. 23 and was the most-played song on U.S. monitored adult R&B radio stations in the Nov. 8 – 14 tracking week, according to Luminate.
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With its ascent, “Something,” released on Benét’s JBR label, bumps Tyrese’s “Wildflower” from the summit after the latter’s two-week command.
“Something” gives Benét his fourth No. 1 on Adult R&B Airplay and first leader in 14 years. He first ruled in 1999 with “Spend My Life With You,” featuring Tamia, a five-week champ, and followed with “You’re The Only One” (five weeks, 2008) and “Sometimes I Cry” (five, 2010).
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The decade-plus wait for a new No. 1 puts Benét among peers who recently completed spells between leaders: Wildflower” was Tyrese’s first Adult R&B Airplay No. 1 in nine years, while Kenny Lattimore’s “Take a Dose” topped the chart in February 2023, the performer’s first coronation since “For You” in April 1997 – just two months shy of 26 years.
Braxton, meanwhile, achieves her second No. 1 on Adult R&B Airplay, after “Love and War” conquered the radio ranking for nine weeks in 2013.
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Between their last leaders, both Benét and Braxton have been within one spot of adding a new No. 1 to their counts. Benét’s “Sunshine” reached a No. 2 peak in 2016, having been held back from the top spot by Ro James’ “Permission.”
In Braxton’s case, both of the singer’s two most recent entries on the chart, 2020’s “Crazy Kind of Love” and 2023’s “Changed,” both peaked at No. 2. The former parked in the runner-up rank for two weeks, unable to overcome Charlie Wilson’s “What I Got,” while the latter’s five-week stretch with the silver medal fell behind Janelle Monae’s “Lipstick Lover” for one frame and October London’s “Back to Your Place” for a month.
Elsewhere, “Something” drives 19-15 on the R&B/Hip-Hop Airplay chart, which ranks songs by combined audience totals from the panel-monitored adult R&B and mainstream R&B/hip-hop radio stations. There, the single jumps to 5.9 million in format audience, up 9% from the prior week.
Airplay gains, in turn, power the track’s No. 24 debut on the multi-metric Hot R&B Songs chart, which blends streaming, radio airplay and song sales for its calculations. The entrance marks Benét’s second visit to the 12-year-old list, after “News for You” in 2013, and Braxton’s ninth appearance.
When one door closes, another opens. Or rather, when one Post Malone tour finishes, another much bigger one announces.
Through closing night on Oct. 27, Post grossed $63 million and sold 470,000 tickets on the F-1 Trillion Tour, according to figures reported to Billboard Boxscore. And on Tuesday morning (Nov. 19), he announced The Big Ass Stadium Tour, which kicks off on April 29.
The move from amphitheaters to stadiums is a big one. The average capacity of Post’s fall shows was 18,786 seats, and the football stadiums on his 2025 route generally exceed 50,000. But all the F-1 Trillion Tour shows sold out – including two sprinkled-in stadiums in Boston and Nashville – and it appears he’s left some meat on the bone.
Post played a swift 25-show run in September and October, which is significantly less than the 39 shows on last year’s If Y’all Weren’t Here, I’d Be Crying Tour ($81 million; 802,000 tickets), which immediately followed the 63-date Twelve Carat Tour ($138.6 million; 1.1 million tickets) that stretched from 2022 into 2023. Post is a proven road warrior, and his brief fall trek simply whetted his base’s appetite.
Plus, his fanbase is expanding, as Post further transitions from hip-hop to pop to country. His fall tour – and presumably his upcoming one – is in support of F-1 Trillion, a country album that hosted more than a dozen of the genre’s cross-generational superstars, from Dolly Parton to Tim McGraw to Lainey Wilson.
The pivot was successful, as F-1 Trillion topped the Billboard 200 with 250,000 equivalent album units earned in its first week, more than doubling each of his previous two studio LPs. And while 2023’s Austin didn’t land a top 10 single on the Billboard Hot 100, this year’s “I Had Some Help,” featuring Morgan Wallen, spent its first six weeks at No. 1 and remains in the top 10 half a year later (as of the Nov. 23-dated chart). If he was selling out arenas and amphitheaters off less successful albums and starved his audience of a robust 2024 tour on the back of a comeback, the stage is well set for next year’s stadium trek.
And if he needs some help, he has it in the form of special guest Jelly Roll. Featured on F-1 Trillion’s “Losers,” he’s on his own fall tour navigating arenas and amphitheaters across the United States. Through Nov. 17, the Beautifully Broken Tour has earned $71.9 million and sold 615,000 tickets. Five shows are left on the schedule, wrapping up on Nov. 26 at Nashville’s Bridgestone Arena.
Quite notably, Jelly Roll’s 2024 tour has out-grossed and outsold Post’s own trek, positioning him as more than just an opening act as both artists prepare to play the biggest stages of their careers. But total volume does not tell the whole story: While Post has perhaps intentionally kept his routing sparse, Jelly hasn’t held back, as the latter’s show count is more than double the former’s. On a per-show level, Post is the stronger earner ($2.5 million vs. $1.4 million) and the bigger seller (18,786 vs. 12,291).
The initial announcement for The Big Ass Stadium Tour includes 25 dates, matching the length of Post’s fall tour. But while Post played to 470,000 fans in 2024, next year’s run will bring him to well over 1 million. It will all-but-certainly play as his highest-earning tour, flirting with a $200 million gross.
Dating back to Post Malone’s first show reported to Boxscore, a 2016 performance at Emo’s in Austin, Texas ($16,449; 660 tickets), he has grossed $415.6 million and sold 3.9 million tickets across 254 shows.
Loe Shimmy is officially a Billboard Hot 100-charting artist, as his single “For Me,” with Brent Faiyaz, debuts on the Nov. 23-dated list, becoming the former’s first career entry. Explore Explore See latest videos, charts and news See latest videos, charts and news Released in March on Loe Shimmy’s album Zombieland 2 (without Faiyaz), the […]
Brandon Lake is already a superstar in the Christian music space, amassing 38 career entries on Billboard’s Hot Christian Songs chart. But he reaches the Billboard Hot 100 for the first time this week with his new viral hit, “Hard Fought Hallelujah.”
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Released Nov. 8 on Brandon Lake/Essential/Provident Label Group, the song debuts at No. 51 on the Hot 100 (dated Nov. 23) with 7 million official U.S. streams, 60,000 in airplay audience and 13,000 downloads sold in its first week, according to Luminate. Its sales sum is the largest among all songs this week, generating a No. 1 debut on the Digital Song Sales ranking, where it’s Lake’s first leader.
“Hard Fought Hallelujah” benefited from pre-release buzz on TikTok. Lake first teased the song on the platform on Sept. 3. Since then, audio from that clip has been used to soundtrack more than 30,000 TikToks. Many TikTok users have tied the song to experiences during difficult periods of their lives, and how they’ve turned to religion to overcome personal obstacles. Lake has shared some of those videos on his profile.
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Lake has been a staple in the Christian music world since his chart debut in 2019. He first reached Hot Christian Songs in July 2019 with “This Is a Move,” which reached No. 36. He has charted eight top 10s, including six No. 1s through “Hard Fought Hallelujah” this week:
Title, Peak Date (Weeks at No. 1):
“Hard Fought Hallelujah,” Nov. 23, 2024 (one to date)
“That’s Who I Praise,” Oct. 19, 2024 (five)
“Praise” (Elevation Worship feat. Brandon Lake, Chris Brown & Chandler Moore), March 16, 2024 (31)
“Praise You Anywhere,” Nov. 4, 2023 (six)
“Gratitude,” Feb. 4, 2023 (28)
“Graves Into Gardens” (Elevation Worship feat. Brandon Lake), Feb. 6, 2021 (two)
With 31 weeks spent at No. 1, “Praise” is the fourth-longest-leading hit in the 21-year history of Hot Christian Songs – and the longest-leading by a solo male. Overall, it trails only Lauren Daigle’s “You Say” (132 weeks at No. 1), Hillsong United’s “Oceans (Where Feet May Fail)” (61) and Hillsong Worship’s “What a Beautiful Name” (37). With 28 weeks, Lake’s “Gratitude” is the fifth-longest-leading No. 1.
Lake’s six No. 1s on Hot Christian Songs put him at a tie with Jeremy Camp, Daigle, Matthew West and Third Day for the fifth-most, after MercyMe (13), Casting Crowns (nine), Chris Tomlin and TobyMac (seven each).
Additionally, Lake claims the top three tracks on the Nov. 23-dated Hot Christian Songs chart, with “Hard Fought Hallelujah” followed by “That’s Who I Praise” at No. 2 and “Praise” at No. 3. Previously, only Ye (then billed as Kanye West) tripled up for 11 weeks in 2019-22 and Carrie Underwood, for four weeks in 2020-21.
Lake has also charted 21 songs on Christian Airplay, including six top 10s and three No. 1s: “Graves Into Gardens,” “Gratitude” and “Praise.”
On the Top Christian Albums chart, Lake has charted five titles, including one No. 1: Coat of Many Colors, in November 2023.
Earlier this year, Lake signed with UTA for booking representation. “We are wildly impressed with how Lake is changing the game for Christian artists and are thrilled to welcome him to the UTA family,” Matthew Morgan, co-head of UTA Nashville and a UTA partner, said in a statement at the time.
Gracie Abrams tops Billboard’s Streaming Songs chart for the first time, as “That’s So True” rules the Nov. 23-dated list. “That’s So True” lifts 4-1 in its fourth week on the chart (following its Oct. 18 release) with 23.5 million official U.S. streams earned in the week ending Nov. 14, a gain of 25%, according […]
ROSÉ and Bruno Mars’ “APT.” spends a fourth week at No. 1 on both the Billboard Global 200 and Billboard Global Excl. U.S. charts. Three weeks earlier, the team-up debuted as each artist’s second leader on each list.
Elsewhere, Gigi Perez earns her first Global 200 top 10 with “Sailor Song.” Plus, Gracie Abrams notches her first Global Excl. U.S. top 10 with “That’s So True”; a week before, the song became her first top 10 on the Global 200.
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The Global 200 and Global Excl. U.S. charts, which began in September 2020, rank songs based on streaming and sales activity culled from more than 200 territories around the world, as compiled by Luminate. The Global 200 is inclusive of worldwide data and the Global Excl. U.S. chart comprises data from territories excluding the United States.
Chart ranks are based on a weighted formula incorporating official-only streams on both subscription and ad-supported tiers of audio and video music services, as well as download sales, the latter of which reflect purchases from full-service digital music retailers from around the world, with sales from direct-to-consumer (D2C) sites excluded from the charts’ calculations.
“APT.,” released Oct. 18, rules the Global 200 for a fourth week with 146.4 million streams (down 10% week-over-week) and 14,000 sold (up 2%) worldwide Nov. 8-14. The duet debuted with 224.5 million global streams and logged 207.5 million in its second frame, becoming the first title since the chart started to have drawn at least 200 million streams globally in multiple weeks.
“APT.” also now claims four of the top five streaming weeks on the Global 200 among songs released in 2024:
224.5 million, “APT.,” ROSÉ & Bruno Mars, Nov. 2
207.5 million, “APT. ,” ROSÉ & Bruno Mars, Nov. 9
176.8 million, “Fortnight,” Taylor Swift feat. Post Malone, May 4
162.2 million, “APT. ,” ROSÉ & Bruno Mars, Nov. 16
146.4 million, “APT. ,” ROSÉ & Bruno Mars, Nov. 23
Lady Gaga and Mars’ “Die With a Smile” holds at No. 2 on the Global 200, following eight weeks at No. 1, the most for any song this year. It drew 119.1 million streams (essentially even week-over-week) worldwide Nov. 8-14 and has tallied over 100 million streams globally in each of the last 11 weeks, the longest such streak since the chart began.
Billie Eilish’s “Birds of a Feather” repeats at No. 3 on the Global 200, following three weeks at No. 1 beginning in August; Gracie Abrams’ first top 10, “That’s So True,” enters the top five, rising 6-4 with 59.6 million streams (up 35%) and 4,000 sold (up 30%) worldwide; and Oscar Maydon and Fuerza Regida’s “Tu Boda” dips to No. 5 from its No. 4 high.
Gigi Perez’s first Global 200 entry, “Sailor Song,” breezes into the top 10 (12-10) led by 42.8 million streams (up 6%) worldwide. The New Jersey native solely wrote and produced the song.
“APT.” concurrently crowns Global Excl. U.S. for a fourth week, with 129.6 million streams (down 11%) and 10,000 sold (up 2%) outside the U.S. Nov. 8-14.
“Die With a Smile” holds at No. 2 on Global Excl. U.S. following eight weeks at No. 1; Eilish’s “Birds of a Feather” is steady at No. 3, after three weeks at No. 1 beginning in August; and Oscar Maydon and Fuerza Regida’s “Tu Boda” keeps at its No. 4 high.
Plus, “That’s So True” becomes Abrams’ first Global Excl. U.S. top 10, surging 13-5 with 36.4 million streams (up 43%) and 1,000 sold (up 50%) outside the U.S. The singer-songwriter has opened on over three dozen dates of Taylor Swift’s The Eras Tour, serving as the sole opener for all shows since Oct. 18; she is also set to be the only supporting act for the tour’s remaining dates through Dec. 8.
The Billboard Global 200 and Billboard Global Excl. U.S. charts (dated Nov. 23, 2024) will update on Billboard.com tomorrow, Nov. 19. For both charts, the top 100 titles are available to all readers on Billboard.com, while the complete 200-title rankings are visible on Billboard Pro, Billboard’s subscription-based service. For all chart news, you can follow @billboard and @billboardcharts on both X, formerly known as Twitter, and Instagram.
Luminate, the independent data provider to the Billboard charts, completes a thorough review of all data submissions used in compiling the weekly chart rankings. Luminate reviews and authenticates data. In partnership with Billboard, data deemed suspicious or unverifiable is removed, using established criteria, before final chart calculations are made and published.
Shaboozey’s “A Bar Song (Tipsy)” adds an 18th week at No. 1 on the Billboard Hot 100. Over the chart’s 66-year history, the song is now one week away from potentially tying for the longest reign, held by Lil Nas X’s “Old Town Road” (featuring Billy Ray Cyrus), which dominated for 19 weeks in 2019. […]