Chart Beat
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Lady Gaga debuts at No. 1 on the Feb. 15-dated Hot Dance/Pop Songs tally with “Abracadabra,” becoming the second chart-topper in the survey’s five-week history. Tate McRae’s “It’s Ok I’m Ok” drops to No. 6 after reigning for the list’s first four frames.
All Billboard charts dated Feb. 15 will update tomorrow, Feb. 11. Hot Dance/Pop Songs ranks the most popular current dance/pop titles, separate from Billboard’s Hot Dance/Electronic Songs chart, which focuses on producers and DJs.
“Abracadabra” and its official music video were debuted during last weekend’s Grammy telecast (Sun, Feb. 2), before appearing in full on digital platforms later that night. Billboard‘s tracking week stretches from Friday to Thursday, meaning that the song’s chart debut was handicapped by its Sunday release. Still, its No. 1 entry was powered by 13.7 million official U.S. streams, 1.3 million radio audience impressions, and 10,000 downloads sold through Feb. 6, according to Luminate.
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Despite its shortened week, “Abracadabra” boasts the highest sales and streaming totals in the chart’s brief history.
Gaga also debuts on the Billboard Hot 100, with “Abracadabra” arriving at No. 29 in its first abbreviated week. Following the chart’s current reigning champ, the Bruno Mars-assissted “Die with A Smile”, and “Disease” (No. 27), her upcoming Mayhem now boasts three top 40 hits on the all-genre ranking before its impending March 7 release, marking her first album to do so since 2013’s Artpop. Overall, it’s her 39th entry on the chart dating back to “Just Dance,” featuring Colby O’Donis, which spent three weeks at No. 1 in 2009.
Gaga’s history in the genre reaches farther back than her No. 1 debut. She crowned the Dance/Mix Show Airplay list four times, reigning for one week with “Bad Romance” and “Born This Way,” for four weeks with “Rain on Me” featuring Ariana Grande, and for a 15-week stretch with “Poker Face.” Plus, her debut album The Fame has logged 193 weeks at No. 1 on Top Dance Albums, climbing back to No. 2 in its 569th week on the chart, 17 years removed from its 2008 release.
Morgan Wallen monopolizes all five of Billboard’s country charts (dated Feb. 15) for a record-extending eighth time, highlighted by a No. 1 entrance on Hot Country Songs with his newest single, “I’m the Problem.” Explore See latest videos, charts and news See latest videos, charts and news Wallen also tops the Country Streaming Songs and […]
ROSÉ and Bruno Mars’ “APT.” claims a record-breaking 15th week at No. 1 on the Billboard Global Excl. U.S. chart. The team-up, which in November debuted as the stars’ second leader each on the list, one-ups Mariah Carey’s “All I Want for Christmas Is You” for the longest command in the chart’s four-year-plus history. (The latter has notched at least one week at No. 1 in each holiday season since the survey began.)
Meanwhile, Lady Gaga and Bruno Mars’ “Die With a Smile” rebounds for a ninth week atop the Billboard Global 200 chart, and its first since October; Gaga’s new single, “Abracadabra,” launches in the top 10 of both global tallies; and The Weeknd’s “Cry for Me” opens in the Global 200’s top 10.
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The Billboard Global 200 and Global Excl. U.S. charts 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.” holds atop Global Excl. U.S. with 103.9 million streams (down 4% week-over-week) and 11,000 sold (up 5%) outside the U.S. Jan. 31-Feb. 6.
Lady Gaga and Mars’ “Die With a Smile” keeps at No. 2 on Global Excl. U.S., following eight weeks at No. 1 starting last September; Bad Bunny’s “DtMF” repeats at No. 3, after hitting No. 2; Billie Eilish’s “Birds of a Feather” rises 6-4, after three weeks on top in August; and Bad Bunny’s “BAILE INoLVIDABLE” dips to No. 5 from its No. 4 best.
Gaga’s “Abracadabra,” unveiled (through a MasterCard commercial) during the 67th Annual Grammy Awards Feb. 2, debuts at No. 9 on Global Excl. U.S. with 34.1 million streams and 8,000 sold outside the U.S. through Feb. 6. The song marks Gaga’s second top 10 since the survey started.
On the Global 200, “Die With a Smile” returns to No. 1, from No. 2, with 131.1 million streams (up 3%) and 16,000 sold (up 61%) worldwide. The ballad won the Grammy for best pop duo/group performance, while Gaga and Mars performed a cover of the Mamas & the Papas’ “California Dreamin’ ” as a tribute to Los Angeles during the Grammys.
“Die With a Smile” spent its first eight weeks at No. 1 on the Global 200 in September-October and ends a 15-week break from the summit, the longest such gap in the chart’s archives, excluding Carey’s seasonal “Christmas.”
ROSÉ and Mars’ “APT.” drops to No. 2 on the Global 200 following 12 weeks at No. 1 beginning in October; Bad Bunny holds at No. 3 with “DtMF,” after two weeks on top beginning in January; Eilish’s “Birds of a Feather” lifts 7-4, after three weeks in the lead in August – after she sang the song as the second performance during the Grammys; and Lola Young’s “Messy” is steady at its No. 5 high.
Plus, two songs debut in the Global 200’s top 10: The Weeknd’s “Cry for Me,” at No. 7 (led by 51 million streams worldwide), and Gaga’s “Abracadabra,” at No. 10 (47.7 million streams). The Weeknd and Gaga add their 14th and second top 10s, respectively. “Cry for Me,” which The Weeknd performed at the Grammys, is from his new album, Hurry Up Tomorrow, new at No. 1 on the U.S.-based Billboard 200 chart.
The Billboard Global 200 and Billboard Global Excl. U.S. charts (dated Feb. 15, 2025) will update on Billboard.com tomorrow, Feb. 11. 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.
Kendrick Lamar and SZA’s “Luther” lifts 4-3 on the Hot 100, returning to its best rank first reached upon its December debut. It concurrently rebounds for an eighth week at No. 1 on the Hot R&B/Hip-Hop Songs and Hot Rap Songs charts, which use the same methodology as the Hot 100.
Billie Eilish’s “Birds of a Feather” flocks 7-4 on the Hot 100, after hitting No. 2. It leads the multimetric Hot Rock & Alternative Songs and Hot Alternative Songs charts for a 27th week each. She sang the song as the second performance during the Grammys, spurring its 30% surge to 19.2 million streams and 219% blast to 8,000 sold in the week ending Feb. 6.
Shaboozey’s “A Bar Song (Tipsy)” keeps at No. 5 on the Hot 100, following a record-tying 19 weeks at No. 1 beginning last July. It gained by 8% to 17.9 million streams and 118% to 9,000 sold in the tracking week, after he performed it as part of a medley by best new artist Grammy nominees.
ROSÉ and Bruno Mars’ “APT.” drops to No. 6 from its No. 3 Hot 100 high.
The Weeknd and Playboi Carti’s “Timeless” vaults 18-7 on the Hot 100, after it debuted at its No. 3 best in October. It increased by 51% to 20.3 million streams in the tracking week after the pair performed it in a mix with The Weeknd’s “Cry for Me”; both songs are from his new album, Hurry Up Tomorrow, which debuts as his fifth No. 1 on the Billboard 200. “Timeless” also tops the multimetric Hot R&B Songs chart for a 17th week.
Teddy Swims’ “Lose Control,” which led the Hot 100 for a week in March 2024 – and became the year’s top song – dips 6-8. It logs a 77th week on the list, tying for the fifth-longest stay in the chart’s history. (It also matches Dua Lipa’s “Levitating” for the most weeks ever spent on the chart for a song on Warner Records.)
Benson Boone’s “Beautiful Things” backflips 15-9 on the Hot 100, after reaching No. 2. It bounded by 29% to 16 million streams and 515% to 14,000 sold in the tracking week, after he, like Shaboozey, contributed to the medley by best new artist Grammy nominees.
Rounding out the Hot 100’s top 10, Lamar’s “TV Off,” featuring Lefty Gunplay, rises 11-10 after it debuted at its No. 2 best in December.
The Weeknd lands his fifth No. 1 on the Billboard 200 albums chart with the debut of Hurry Up Tomorrow atop the tally (dated Feb. 15). The set earned 490,500 equivalent album units in the U.S. in the week ending Feb. 6, according to Luminate. That marks the largest week for any album since Taylor Swift’s The Tortured Poets Department debuted at No. 1 on the May 4, 2024-dated chart with 2.61 million. Hurry Up Tomorrow logs the biggest week for an R&B/hip-hop album since Travis Scott’s Utopia debuted at No. 1 on the Aug. 12, 2023, chart with 496,000.
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The Weeknd previously topped the chart with After Hours (2020), My Dear Melancholy (2018), Starboy (2016) and Beauty Behind the Madness (2015).
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Also in the latest top 10, Chappell Roan’s The Rise and Fall of a Midwest Princess surges 14-6 following her best new artist win at the Grammy Awards (Feb. 2), while Billie Eilish’s Hit Me Hard and Soft (10-5) also climbs in the wake of Grammy exposure.
The Billboard 200 chart ranks the most popular albums of the week in the U.S. based on multi-metric consumption as measured in equivalent album units, compiled by Luminate. Units comprise album sales, track equivalent albums (TEA) and streaming equivalent albums (SEA). Each unit equals one album sale, or 10 individual tracks sold from an album, or 3,750 ad-supported or 1,250 paid/subscription on-demand official audio and video streams generated by songs from an album. The new Feb. 15, 2025-dated chart will be posted in full on Billboard‘s website on Feb. 11. For all chart news, follow @billboard and @billboardcharts on both X, formerly known as Twitter, and Instagram.
Of Hurry Up Tomorrow’s 490,500 first-week equivalent album units, album sales comprise 359,000 (it debuts at No. 1 on Top Album Sales), SEA units comprise 130,500 (equaling 171.5 million on-demand official streams of the songs on the streaming edition of the album; it debuts at No. 1 on Top Streaming Albums) and TEA units comprise 1,000.
Hurry Up Tomorrow’s launch of 490,500 units marks The Weeknd’s biggest week by units earned (since the chart began measuring in units in December 2014). The set’s sales of 359,000 claim The Weeknd’s largest sales week ever.
The set was released as a nine-song standard album, widely available through digital download retailers. It was alternatively available as an 11-song edition across all of its physical formats (CD, vinyl and cassette) and a 22-track digital download and streaming edition. It was also available in two further digital download editions, both exclusively sold via The Weeknd’s HurryUpTomorrow.Club site. Each sold for $4.99, boasted alternative cover art and had the 22 tracks available on the deluxe digital/streaming edition, but each had at least one additional track. One included “Closing Night,” with Swedish House Mafia. The other included “Runaway” and “Society,” which were also included on all of the physical formats, but not any of the other digital or streaming editions.
In total, the album generated 183,000 in digital album sales; 99,000 in CD sales; 77,000 in vinyl sales (The Weeknd’s best week on vinyl) and 1,000 in cassette sales.
Hurry Up Tomorrow’s first-week sales were aided by its availability across eight vinyl variants (including a signed edition), eight CD variants (including multiple signed editions), a cassette tape, and nine deluxe boxed sets containing a branded piece of clothing and a CD.
The album was preceded by the Billboard Hot 100-charting songs “Timeless” (with Playboi Carti, No. 3 peak last October) and “Sao Paulo” (with Anitta, No. 77 last November).
Bad Bunny’s Debí Tirar Más Fotos falls 1-2 on the Billboard 200 with 94,000 equivalent album units earned (down 20%). SZA’s chart-topping SOS slips 2-3 with 82,000 (down 6%), Kendrick Lamar’s GNX dips 3-4 with 65,000 (though up 9%) and Billie Eilish’s Hit Me Hard and Soft jumps 10-5 with 53,000 (up 47%).
Eilish was the first performer on the Feb. 2 Grammy Awards broadcast (on CBS), singing the album’s “Birds of a Feather.” Also on the show: The Weeknd performed (singing his new album’s “Cry for Me” and “Timeless,” with Playboi Carti), while SZA presented the best pop duo/group performance, and Lamar won two on-air trophies (for record of the year, and song of the year, both for “Not Like Us”).
Chappell Roan’s The Rise and Fall of a Midwest Princess surges 14-6 with a 56% gain — to 49,000 equivalent album units earned. The album vaults up the tally following Roan’s win for best new artist at the Grammys, along with her performance of the album’s “Pink Pony Club” on the show (and her buzzy acceptance speech which generated headlines).
Sabrina Carpenter’s former No. 1 Short n’ Sweet gaind 20% (up to 48,000 equivalent album units) but is pushed down a spot to No. 7. On the Grammy Awards, Carpenter won the best pop vocal album award, while also performing a medley of the album’s “Espresso” and “Please Please Please.” (She also won best pop solo performance for “Espresso,” but that category was presented before the television broadcast began.)
Morgan Wallen’s chart-topping One Thing at a Time drops 5-8 on the Billboard 200, despite an 11% gain (to 45,000 equivalent album units). Taylor Swift’s former No. 1 The Tortured Poets Department ascends 11-9 with 38,000 equivalent album units (up 8%) — also likely basking in some glow from the Grammy Awards, where the album and its “Fortnight” single were up for six awards (though did not win). Swift was a visible presence throughout the ceremony, cheering on winners and performers, and presented the best country album trophy to Beyoncé (for Cowboy Carter).
Rounding out the latest top 10 on the Billboard 200 is Gracie Abrams’ The Secret of Us, falling 8-10 with 36,000 equivalent album units earned (down 5%).
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.
Twenty One Pilots lead Billboard’s Alternative Airplay chart for the first time in three years, reigning on the Feb. 15-dated list via the 2-1 rise of “The Line.”
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The song marks the duo’s 11th No. 1 and first since “The Outside” ruled for three weeks beginning in January 2022.
Since then, the band had notched three chart entries, including two No. 2-peaking tracks in “Overcompensate” and “The Craving” in 2024.
With 11 rulers, Twenty One Pilots, who first led with “Stressed Out” in 2015, rank as the act with the sixth-most No. 1s since Alternative Airplay began in 1988.
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Most No. 1s, Alternative Airplay:15, Red Hot Chili Peppers13, Green Day13, Linkin Park12, Cage the Elephant12, Foo Fighters11, Twenty One Pilots8, U28, Weezer7, The Black Keys7, Imagine Dragons
Of the band’s 11 No. 1s, two have now come from soundtracks to TV or film. “The Line” is featured on the soundtrack to Netflix’s Arcane, which premiered its second and final season in November, while “Heathens” was heard in the 2016 movie Suicide Squad.
Concurrently, “The Line” ranks at No. 17 on the all-rock-format, audience-based Rock & Alternative Airplay chart with 2.4 million audience impressions in the week ending Feb. 6, according to Luminate. It reached a No. 14 high in December.
The song appeared at No. 28 on the most recently published multimetric Hot Rock & Alternative Songs tally (dated Feb . 8, reflecting data accumulated Jan. 24-30); it hit No. 13 in December. In addition to its radio airplay, “The Line” earned 2 million official U.S. streams in that span.
The soundtrack to Arcane’s second season peaked at No. 24 on the Billboard 200 in December and has earned 220,000 equivalent album units to date.
All Billboard charts dated Feb. 15 will update Tuesday, Feb. 11, on Billboard.com.
Linkin Park lands its 12th No. 1 on Billboard’s Mainstream Rock Airplay chart, as “Heavy Is the Crown” lifts a spot to the top of the tally dated Feb. 15.
The song is the band’s fourth No. 1 in as many tries dating to 2023, when “Lost” reigned for eight weeks. “Friendly Fire” followed for a week last April and “The Emptiness Machine” ruled for six frames beginning in October.
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With 12 total Mainstream Rock Airplay No. 1s, the sextet ties Disturbed for the eighth-most leaders in the chart’s history (which dates to 1981). Of those, 10 came with vocals from late singer Chester Bennington or rapper/singer Mike Shinoda, while new vocalist Emily Armstrong has taken the reins of the two most recent rulers alongside Shinoda.
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Most No. 1s, Mainstream Rock Airplay:19, Shinedown18, Three Days Grace15, Five Finger Death Punch14, Foo Fighters14, Metallica13, Godsmack13, Van Halen12, Disturbed12, Linkin Park
Linkin Park first led Mainstream Rock Airplay in 2003 with “Somewhere I Belong.” The group first appeared on the survey in 2000, when “One Step Closer” debuted; it peaked at No. 4 in January 2001, marking the band’s first of 21 top 10s.
Concurrently, “Heavy Is the Crown” rises 13-12 on Alternative Airplay. On the all-rock-format, audience-based Rock & Alternative Airplay chart, it reigns for a fourth week via 5.3 million audience impressions in the week ending Feb. 6, according to Luminate.
On the most recently published Hot Hard Rock Songs list (dated Feb. 8, reflecting the Jan. 24-30 tracking period), “Heavy Is the Crown” ranked at No. 2; “The Emptiness Machine” led for 21st week. In addition to its radio airplay, the former drew 1.7 million official U.S. streams, up 3%.
“Heavy Is the Crown” is the second single from From Zero, Linkin Park’s eighth studio album and first with Armstrong and drummer Colin Brittain. The set launched at No. 1 on the Top Rock & Alternative Albums chart in November and has earned 287,000 equivalent album units to date.
All Billboard charts dated Feb. 15 will update Tuesday, Feb. 11, on Billboard.com.
Lola Young’s “Messy” has landed a third week at No. 1 on the U.K. Singles Chart (Feb. 7). The song first hit the top spot in January after dethroning Gracie Abrams’ “That’s So True,” which held the top spot for eight non-consecutive weeks.
The news coincides with her continued rise on the Billboard Hot 100; “Messy” now sits at a new peak of No. 14, a rise of 10 places week-on-week. The track featured on her sophomore album, This Wasn’t Meant for You Anyway, which was released in May.
In March, Young will compete for a BRIT Award in the pop act category against Charli XCX, Dua Lipa, Jade Thirlwall and Myles Smith. Recent months have also seen the Londoner perform on The Tonight Show Starring Jimmy Fallon and appear on Tyler, the Creator’s Chromakopia as a guest vocalist on “Like Him.”
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Speaking to Billboard U.K., Young discussed the success of “Messy” and why the message of self-acceptance has resonated with fans. “For a long time, I wanted to represent this ideal of Westernized beauty — but then I realized I’m not that,” Young said. “I now choose to give realness and truth. I’ve got a bit of a belly out, I f–king swear a bunch and I have fun. And that’s what people are resonating with.”
The success of “Messy” means that the Island EMI label group have scored a grand slam with four No. 1s across the U.K.’s Official Albums, Singles, Compilations and Radio Airplay Charts this week. The feat was achieved as The Weeknd’s Hurry Up Tomorrow hit the top spot on the Official Albums Chart, “Messy” on the Singles and Radio Airplay Charts, while the Wicked soundtrack rules the Compilations Chart. It’s the first time the feat has been achieved by any label group in over 10 years.
The remainder of the top five features familiar faces, with ROSÉ and Bruno Mars’ “APT.” (No. 2), Gracie Abrams’ “That’s So True” (No. 3), Chrystal’s “The Days” (No. 4) and Gigi Perez’s “Sailor Song” (No. 5) all staying put week-on-week.
Lady Gaga’s new song, “Abracadabra,” goes straight in at No. 6, giving the pop hero her 17th top 10 hit in the U.K. It’s the third single from upcoming album Mayhem to land in the top 10 following “Die With a Smile” (No. 2) and “Disease” (No. 7).
The Weeknd has landed his fourth No. 1 album in the U.K. with Hurry Up Tomorrow (Feb. 7).
The Canadian megastar (real name Abel Tesfaye) has previously topped the Official Albums Chart with Beauty Behind the Madness (2015), After Hours (2020) and Dawn FM (2022). His greatest hits compilation The Highlights (2021) peaked at No. 2, and has been a chart mainstay ever since.
The 22-track Hurry Up Tomorrow features guest appearances from Travis Scott, Justice, Lana Del Rey, Florence + The Machine, Anitta, Future and Playboi Carti, and rounds out the After Hours Til Dawn trilogy. In the build-up to its release, Tesfaye teased that it could be the final album he releases under The Weeknd moniker.
The Weeknd also appeared at the Grammys for a live performance on Feb. 2, returning to the institution after vowing to boycott the ceremony due to a lack of recognition for his After Hours campaign. On Tuesday (Feb. 4), the first trailer for Hurry Up Tomorrow’s accompanying film was shared; Jenna Ortega and Barry Keoghan both star alongside Tesfaye in the flick, directed by Trey Edward Shults.
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With The Weeknd taking the top spot, the Island EMI label group have scored a grand slam with four No. 1s across the U.K.’s Official Albums, Singles, Compilations and Radio Airplay Charts this week. The feat was achieved as Lola Young’s “Messy” has scored a third week at No. 1 on the Official Singles and Radio Airplay Charts, while the Wicked soundtrack rules the Compilations Chart. It’s the first time the feat has been achieved by any label group in over 10 years.
Central Cee’s Can’t Rush Greatness slips one spot to No. 2, and follows his No. 9 placing on the Hot 100, the highest charting U.K. rap LP ever in the U.S. Sabrina Carpenter’s Short n’ Sweet (No. 3), The Weeknd’s The Highlights (No. 4) and Ed Sheeran’s +–=÷× (Tour Collection) (No. 5) round out the top five.
Dance duo Maribou State lands its first top 10 record with third LP Hallucinating Love finishing at No. 9. Speaking to Billboard UK, the pair discussed the numerous health and personal issues they faced during the album’s production.
“It was a really important process for us to go through, personally and creatively,” said member Chris Davids. “We learned a lot about ourselves in that time. We’re grateful that we were in a position where we were able to press pause for a minute during the writing process, and to look after ourselves and not just push through and break ourselves when doing it.”
From Section.80 to No. 1, Kendrick Lamar has stormed to levels of commercial success and critical admiration in the last two decades that place him as one of the preeminent rappers of his generation — and many observers suggest, already among the greatest of all time.
Born in Compton, Calif., Lamar earned regional buzz for a series of mixtapes in the 2000s, but slowly attracted larger attention beginning with his Overly Dedicated mixtape. The release became his first Billboard chart entry, reaching No. 72 on the Top R&B/Hip-Hop Albums list in October 2010. Less than a year later, Lamar’s debut album, Section.80, allowed the rapper to break onto the Billboard 200 for the first time and peaked at No. 113 in June 2011.
The hitmaking run ignited with his next album, 2012’s good kid, m.A.A.d city. The set, his initial LP through a major label, Aftermath/Interscope Records, opened and peaked at No. 2 on the Billboard 200 and produced three top 40 hits on the Billboard Hot 100 – the No. 17 hit “Swimming Pools (Drank),” “Bitch Don’t Kill My Vibe” (No. 32) and the Drake-assisted “Poetic Justice” (No. 26). Cementing its acclaim among Lamar’s industry peers, the set was nominated for seven Grammy Awards, including album of the year.
Since that breakthrough, every Lamar project has become an event. Each of good kid’s studio album successors – To Pimp a Butterfly (2015) DAMN. (2017), Mr. Morale & The Good Steppers (2022) and GNX (2024) – has debuted at No. 1 on the Billboard 200, as have Lamar’s exploratory demo collection Untitled Unmastered (2016) and the multi-artist soundtrack that he curated for the film Black Panther (2018).
While singles success didn’t initially mirror the chart-topping results of his albums, Lamar steadily became a major player on the Hot 100. He earned his first No. 1 as a guest on Taylor Swift’s “Bad Blood” in 2015 before unlocking the penthouse on his own with “Humble.” two years later. He accumulated more top 10 hits with solo songs, including “DNA.” and “N95,” and collaborations with acts such as Maroon 5 (“Don’t Wanna Know”), The Weeknd (“Pray for Me”) and SZA (“All the Stars”).
Chart fortunes, however, surged to a new plane in 2024 following a feud with Drake that captured pop culture’s attention. Thanks to Lamar’s targeted verse on the “Like That” collaboration with Future and Metro Boomin, the song debuted at No. 1 on the Hot 100 and sparked an array of diss tracks between the two rappers. Among them, Lamar earned a second Hot 100 No. 1 with “Not Like Us,” the most successful track of the entire saga.
With public momentum in his corner, Lamar released GNX in November 2024. The set’s “Squabble Up” arrived as the rapper’s third Hot 100 leader for the year – the most of any artist in 2024. In addition, GNX tracks occupied the entire top five in its debut week, making Lamar only the fourth act – after The Beatles, Drake and Taylor Swift – to monopolize the region.
Lamar’s victory lap extended into 2025, with five wins at the 2025 Grammy Awards ceremony, including record of the year and song of the year for “Not Like Us.” On Feb. 9, he’ll headline the halftime show at Super Bowl LIX in New Orleans.
As Lamar prepares for his turn on the world’s biggest stage, let’s recap the Pulitzer Prize-winning rapper’s 20 biggest hit songs on the Hot 100, a review that encapsulates a range of his earliest, scrappy hits to world-conquering anthems.
Kendrick Lamar’s Biggest Billboard Hot 100 Hits ranking is based on weekly performance on the Hot 100 from its Aug. 4, 1958, start through Feb. 8, 2025. Songs are ranked based on an inverse point system, with weeks at No. 1 earning the greatest value and weeks at lower spots earning the least. Due to changes in chart methodology over the years, eras are weighted differently to account for chart turnover rates during various periods.
“Bitch, Don’t Kill My Vibe”