Chart Beat
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Billie Eilish’s “Birds of a Feather” spends a second week at No. 1 on both the Billboard Global 200 and Billboard Global Excl. U.S. charts. A week earlier, the song became her first leader on each list.
Plus, Hanumankind and Kalmi’s “Big Dawgs” bounds to No. 9 on the Global 200 and No. 8 on Global Excl. U.S. It marks the first top 10 on the rankings for the respective rapper and producer, both from India.
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.
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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.
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“Birds of a Feather” repeats atop the Global 200 with 85.5 million streams (up 9%) and 16,000 sold (up 129%) worldwide Aug. 9-15. Helping boost its profile, Eilish performed the song at the 2024 Summer Olympics Closing Ceremony Aug. 11 in Los Angeles, where the next summer games will be held in 2028.
Sabrina Carpenter’s “Espresso” holds at No. 2 on the Global 200, following three nonconsecutive weeks at No. 1 beginning in June; Shaboozey’s “A Bar Song (Tipsy)” returns to its No. 3 high, from No. 4; Carpenter’s “Please Please Please” rises 6-4, after spending two weeks on top starting in June; and Karol G’s “Si Antes Te Hubiera Conocido” climbs 7-5, becoming the third of her six top 10s to go top five.
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Hanumankind and Kalmi’s breakthrough hit “Big Dawgs” blasts 17-9 on the Global 200, as well as 13-8 on Global Excl. U.S. It drew 59.3 million streams (up 15%) and sold 5,000 (up 7%) worldwide in the tracking week, with 45.3 million streams and 2,000 sold outside the U.S. The track has also hit the top 10 on multiple tallies in Billboard’s Hits of the World charts menu, including India Songs, where it keeps at its No. 3 high.
“Birds of a Feather” concurrently flies highest on Global Excl. U.S. with 62.7 million streams (up 9%) and 7,000 sold (up 131%) outside the U.S. Aug. 9-15.
Karol G’s “Si Antes Te Hubiera Conocido” reaches a new No. 2 Global Excl. U.S. best, jumping from No. 4; Carpenter’s “Espresso” holds at No. 3, following eight nonconsecutive weeks at No. 1 beginning in May; Jimin’s “Who” slips 2-4 after logging two weeks at No. 1 earlier in August; and Carpenter’s “Please Please Please” pushes 6-5, following two weeks at the summit beginning in June.
The Billboard Global 200 and Billboard Global Excl. U.S. charts (dated Aug. 24, 2024) will update on Billboard.com tomorrow, Aug. 20. 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.
Chappell Roan’s The Rise and Fall of a Midwest Princess hits No. 1 on Billboard’s Vinyl Albums chart for the first time as the set jumps from No. 12 to No. 1 on the Aug. 24-dated list. The album sold 8,500 copies on vinyl in the U.S. in the week ending Aug. 15, according to […]
Post Malone’s “I Had Some Help,” featuring Morgan Wallen, holds at No. 2 on the Hot 100, following six nonconsecutive weeks at No. 1 beginning in May. It rules the multimetric Songs of the Summer chart for a 12th week.
Notably, thanks to Shaboozey’s “A Bar Song (Tipsy)” and “I Had Some Help,” titles that have led the Hot Country Songs chart have ranked at Nos. 1 and 2 simultaneously on the Hot 100 for the past five weeks. That’s the longest such streak since country hits took the top two spots for six consecutive weeks last August-September (via Jason Aldean’s “Try That in a Small Town”; Wallen’s “Last Night”; Luke Combs’ “Fast Car”; Oliver Anthony Music’s “Rich Men North of Richmond”; and Zach Bryan’s “I Remember Everything,” featuring Kacey Musgraves).
Kendrick Lamar’s “Not Like Us” repeats at No. 3 on the Hot 100, following two weeks on top. It leads the multimetric Hot Rap Songs chart for a 14th week and Hot R&B/Hip-Hop Songs for a 12th week.
Sabrina Carpenter’s “Espresso” keeps at No. 4 on the Hot 100, after reaching No. 3.
Billie Eilish’s “Birds of a Feather” lifts 7-5 on the Hot 100, with 35.7 million in radio reach (up 12%), 23.9 million streams (up 7%) and 8,000 sold (up 129%). Helping spark gains, Eilish performed the song at the 2024 Summer Olympics closing ceremony Aug. 11 in Los Angeles, where the next Summer Olympic Games will be held in 2028. The song becomes Eilish’s fourth top five entry, joining “Bad Guy” (No. 1, one week, 2019), “Therefore I Am” (No. 2, 2020) and “Lunch” (No. 5, this June). Her latest LP, Hit Me Hard and Soft, houses both “Birds of a Feather” and “Lunch,” marking her first album to generate multiple top five Hot 100 hits. “Birds of a Feather” simultaneously spends a second week at No. 1 on the multimetric Hot Rock & Alternative Songs and Hot Alternative Songs charts.
Tommy Richman’s “Million Dollar Baby” dips 5-6 on the Hot 100, after reaching No. 2, as it notches a 16th week atop the multimetric Hot R&B Songs chart; Chappell Roan’s “Good Luck, Babe!” descends to No. 7 from its No. 6 Hot 100 high; and Carpenter’s “Please Please Please” repeats at No. 8, after it became her first No. 1 in June.
Teddy Swims’ “Lose Control,” which led the Hot 100 for a week in March, is steady at No. 9. It also ties for the eighth-most weeks tallied in the top 10 this decade:
57 weeks, “Blinding Lights,” The Weeknd, 2020-21
44, “Stay,” The Kid LAROI & Justin Bieber, 2021-22
41, “Last Night,” Morgan Wallen, 2023-24
41, “Levitating,” Dua Lipa, 2021
38, “As It Was,” Harry Styles, 2022-23
37, “Heat Waves,” Glass Animals, 2021-22
34, “Cruel Summer,” Taylor Swift, 2023-24
31, “Lose Control,” Teddy Swims, 2024
31, “Mood,” 24kGoldn feat. iann dior, 2020-21
29, “Flowers,” Miley Cyrus, 2023-24
Rounding out the Hot 100’s top 10, Hozier’s “Too Sweet” holds at No. 10, following a week at No. 1 in April, as it leads the multimetric Hot Rock Songs chart for a 20th week.
Beabadoobee has reached a dizzying new high in her career after securing her first-ever U.K. Official No. 1 album with This Is How Tomorrow Moves. The Filipino-British artist, known offstage as Beatrice Laus, saw her third studio album debut at the top of the U.K. Official Albums Chart, published Friday, Aug. 16, marking a major […]
Chase & Status have claimed their first-ever U.K. No. 1 single on the Official U.K. Charts with “BACKBONE,” a DnB-heavy collaboration featuring Stormzy.
For Stormzy, this track marks his fourth time topping the charts, following his previous hits “Vossi Bop” (2019), “Take Me Back to London” with Ed Sheeran (2019), and “Own It” with Ed Sheeran and Burna Boy (2020).
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Reacting to the major achievement, the British electronic duo told Official U.K Charts: “We knew that connecting with Stormzy was going to create something special, but we didn’t expect a KO reaction like this. To see him running out at our show at The Milton Keynes Bowl, in his best man’s suit—straight from a wedding and in front of 45,000 people—was insane! One of the greatest British MCs to ever do it, spitting over DnB & for it to go straight into No. 1? It couldn’t get any better for us.”
“BACKBONE” dominated the charts this week, racking up 6.4 million streams to secure the top spot.
Billie Eilish’s “BIRDS OF A FEATHER” also made waves, returning to its previous peak at No. 2. Her recent collaboration with Charli XCX, “Guess,” held strong in the Top 5 at No. 4, while another track, “WILDFLOWER,” continued its steady climb, now sitting at No. 36.
In the dance music scene, “Kisses” by Bl3ss, CamrinWatsin, and bbyclose moved up to No. 6, securing its place as a standout hit of the summer.
JADE re-entered the U.K. Top 10 with “Angel Of My Dreams,” which soared eight spots to No. 10, thanks to the release of its “S.A.D (sad. angelic. dramatic.) Version”‘. The achievement makes her the first Little Mix alum to have a solo single spend two weeks in the Top 10.
Just outside the Top 10, “Move” by Adam Port, Stryv, and KeineMusik climbed to a new peak at No. 11, while Chappell Roan’s “HOT TO GO” rose to No. 12, with another track, “Red Wine Supernova,” reaching No. 31.
In the U.K. Top 20, Sonny Fodera, Jazzy, and D.O.D’s “Somedays” made a significant jump to No. 19, and Indian rapper Hanumankind, along with producer Kalmi, saw their track “Big Dawgs” rise to No. 21.
Madonna’s classic hit “Like A Prayer” made a return to the U.K. Top 40 at No. 27, thanks to its feature in the new blockbuster Deadpool & Wolverine. Originally released in 1989, the song spent three weeks at No. 1 and now enjoys its 10th week inside the Top 40, just in time for Madonna’s 66th birthday.
Other notable movements include Calvin Harris & Ellie Goulding’s “Free,” which reached No. 35, and Gracie Abrams securing her third Top 40 single with “I love you, I’m sorry” at No. 38.
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Taylor Swift’s The Tortured Poets Department reaches a 15th week atop the Billboard 200 chart (dated Aug. 24) — tying Carole King’s Tapestry for the third-most weeks at No. 1 among albums by women. The latter spent 15 frames at No. 1 in 1971. Only Adele’s 21 (24 weeks in 2011-12) and the Whitney Houston-led soundtrack to The Bodyguard (20 weeks in 1992-93) have more weeks at No. 1 among women.
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Tortured Poets earned 85,000 equivalent album units in the U.S. in the week ending Aug. 15 (down 40%), according to Luminate.
Meanwhile, in a quiet top 10 (where no albums debut for the second time in three weeks), Chappell Roan’s The Rise and Fall of a Midwest Princess hits a new peak for the third week in a row, as it climbs 3-2 with 72,000 units (up 13%), a new weekly high, by units, for the set.
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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 Aug. 24, 2024-dated chart will be posted in full on Billboard‘s website on Aug. 20. For all chart news, follow @billboard and @billboardcharts on both X, formerly known as Twitter, and Instagram.
Of The Tortured Poets Department’s 85,000 units earned in the week ending Aug. 15, SEA units comprise 57,000 (down 1%, equaling 74.77 on-demand official streams of the set’s widely available deluxe edition’s 31 songs), album sales comprise 28,000 (down 67%) and TEA units comprise a negligible sum (up 5%). On the Top Streaming Albums chart, Poets falls 2-3 and on the Top Album Sales chart, it clocks an eighth week at No. 1.
With Tortured Poets — Swift’s longest-leading album on the Billboard 200 — she adds her 84th career week at No. 1 on the Billboard 200, extending her record among soloists. (Elvis Presley has the second-most among soloists, with 67.) The total encompasses her 14 No. 1 albums. (She’s tied with Jay-Z for the most No. 1s among soloists.)
In the tracking week of Aug. 9-15, news continued to emerge from the foiled terror attack on Swift’s cancelled Eras Tour dates in Vienna. The three Vienna dates (Aug. 8-10) were nixed on Aug. 7 and were the first cancelled shows of the tour, which began on March 17, 2023. On Aug. 15, the tour continued on to its scheduled five-night stand at London’s Wembley Stadium (Aug. 15-17, 19-20), for The Eras Tour’s final shows in Europe.
During the last day (Aug. 15) of the chart’s tracking week, Swift introduced one all-new digital album variant of Poets on her official webstore, which was available for six hours and sold for $4.99. The set included the standard album’s 16 songs, plus one exclusive bonus track, “The Prophecy (Long Story Short – Live From Lyon),” recorded during The Eras Tour on June 2.
Also on Aug. 15, for only six hours, Swift’s webstore restocked a $4.99 digital album variant that was available briefly the previous tracking week — it contained the standard album’s 16 songs plus a live version of “thank You aimEe (Mean – Live from London),” recorded on June 22 during her The Eras Tour. In the previous tracking week, the same digital album variant was sold in Swift’s webstore, but with one slight difference — the stylization of the letters in the title of bonus live song. It was initially stylized as “thanK you aIMee” (mirroring the studio version on the Poets album), and then on Aug. 15, its stylization changed to “thank You aimEe.” The capitalization of the specific letters in the title — KIM and YE — could reference Kim Kardashian and her ex-husband (and longtime Swift foe), Ye, formerly Kanye West.
In the tracking week ending Aug. 15, Tortured Poets sold nearly 10,000 in digital album downloads across all variants through all sellers (including her webstore, the iTunes Store and others). Even if Poets had not sold a single digital album in the latest tracking week, it still would have been No. 1 on the Billboard 200. The No. 2 title, Chappell Roan’s The Rise and Fall of a Midwest Princess, trails Poets by 13,000 units.
As for The Rise and Fall of a Midwest Princess, the album reaches a new peak for a third week in a row, as it steps 3-2 with 72,000 equivalent album units earned (its best week by units earned; up 13%). In the last 10 weeks, the album has steadily inched its way up the list. It broke into the top 10 on the June 22-dated chart, rising 12-10. It has since moved 8-6-5-5-7-8-4-3-2.
The 3-2 ascent for Rise reflects the tracking week that contained a buzzy festival performance from Roan — her Aug. 11 gig at Outside Lands in San Francisco. The latter generated a quasi-viral moment where she chastised the VIP section for not singing along to the album’s “Hot To Go!”
Morgan Wallen’s chart-topping One Thing at a Time dips 4-3 on the latest Billboard 200 with 63,000 equivalent album units earned (up 1%). It also claims a ninth nonconsecutive week at No. 1 on the Top Streaming Albums chart.
Billie Eilish’s Hit Me Hard and Soft steps 5-4 on the Billboard 200 with 57,000 (up 1%), while Zach Bryan’s The Great American Bar Scene climbs 7-5 with 48,000 (though down 6%).
Charli XCX’s Brat is a non-mover at No. 6 (47,000; down 16%); Noah Kahan’s Stick Season steps 9-7 (just over 38,000; up 3%); Wallen’s former No. 1 Dangerous: The Double Album is stationary at No. 8 (38,000; up 2%); Twisters: The Album rises 10-9 (34,000; down 7%); and Zach Bryan’s self-titled chart-topper returns to the top 10, climbing 12-10 (nearly 34,000; up 6%).
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.
Following a synch in the latest season of Netflix’s Cobra Kai, Cyndi Lauper’s “Girls Just Want to Have Fun” claims the top spot of Billboard’s Top TV Songs chart, powered by Tunefind, for July 2024.
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Rankings for the Top TV Songs chart are based on song and show data provided by Tunefind and ranked using a formula blending that data with sales and streaming information tracked by Luminate during the corresponding period of July 2024.
“Girls Just Want to Have Fun,” Lauper’s breakthrough hit (it peaked at No. 2 on the Billboard Hot 100 in March 1984), was heard in the third episode of the Netflix series’ sixth season, which aired its first five episodes all together on July 18, with the next five to come in November.
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“Girls Just Want to Have Fun” racked up 13.7 million official on-demand U.S. streams and 2,000 downloads in July 2024, according to Luminate.
The song is the sole entry from Cobra Kai on the July 2024 tally; it’s followed by a slew of titles from Amazon Prime Video’s The Boys and Peacock’s U.S. version of Love Island, which take up the remainder of the 10-position list.
Music from the fourth season of The Boys — particularly episodes six, seven and eight, which aired between July 4 and 18 — take up Nos. 2-7 and 10, paced by Christopher Cross‘ “Sailing” at No. 2.
“Sailing,” a No. 1 hit for Cross on the Hot 100 in August 1980, scored a synch in the sixth episode of the series, as did the No. 3 song, Gerry Rafferty’s “Baker Street” (No. 2 on the Hot 100 in June 1978).
“Sailing” earned 6.5 million streams and 2,000 downloads in July 2024, while “Baker Street” contributed 3.1 million streams and 1,000 downloads.
As for Love Island, whose sixth season premiered in June and ran through July, the top-performing track was Chance Pena’s “The Mountain Is You” at No. 8 following its appearance in episode 22 (July 5) via 1.4 million streams.
See the full top 10 below.
Rank, Song, Artist, Show (Network)1. “Girls Just Want to Have Fun,” Cyndi Lauper, Cobra Kai (Netflix)2. “Sailing,” Christopher Cross, The Boys (Amazon Prime Video)3. “Baker Street,” Gerry Rafferty, The Boys (Amazon Prime Video)4. “Heart-Shaped Box,” Nirvana, The Boys (Amazon Prime Video)5. “Rosanna,” Toto, The Boys (Amazon Prime Video)6. “Steal My Sunshine,” Len, The Boys (Amazon Prime Video)7. “Butterfly,” Crazy Town, The Boys (Amazon Prime Video)8. “The Mountain Is You,” Chance Pena, Love Island (Peacock)9. “Sex and Candy,” Unions, Love Island (Peacock)10. “You Can Do Magic,” America, The Boys (Amazon Prime Video)
Coldplay is the midst of the third European leg of the Music of the Spheres World Tour, which has also taken the British quartet to Asia and North and South America, with 11 shows scheduled in Australia and New Zealand later this year. In all of that globe-trotting, the band has made Boxscore history, building […]
Shaboozey dominates Billboard’s Country Airplay chart (dated Aug. 24) for a fourth week with “A Bar Song (Tipsy)” – gaining entrance to a select group of artists’ breakout hits that have led for at least that long over the chart’s 34-year history.
The song by the Virginia native (born Collins Obinna Chibueze) drew 30.5 million audience impressions at the format Aug. 9-15, according to Luminate. The single, on American Dogwood/EMPIRE, with country radio promotion by Magnolia Music, concurrently crowns the Pop Airplay chart for a second week.
“A Bar Song” is only the ninth country career-establishing No. 1 at the format to reign for four-plus weeks – and the second among the three most recent Country Airplay leaders, after Post Malone’s “I Had Some Help” (featuring Morgan Wallen) ruled for four beginning in June. (Before that, however, no such song had achieved the feat in over 18 years.)
What makes “A Bar Song” so special, and a hit at multiple formats, from country and pop to rhythmic? Travis Daily, who in May became Cumulus Media vp of country, after being named brand and content manager of the chain’s WKDF and WSM-FM Nashville in April, tells Billboard, “I have a kid in college who sends me music almost daily, and he sent me the song one night as I was packing for my move to Nashville. My first reaction was, ‘This is exactly what we need to stand out on WKDF when I get to town.’
“After listening multiple times, I began thinking that this is going to take off before I even get a chance to drive across the country [from Salt Lake City],” Daily says. “Some people think it’s a mystery that it’s doing so well, which kind of baffles me. We have a great song by a very talented artist that our audience seems to love. Passion for this song is almost unheard of.
“Some country programmers don’t like when pop stations play our country hits,” Daily further muses. “I would argue that songs like this give me a chance to convert some audience into becoming fans of the greatest format in the world, which is obviously country.”
Below, browse the songs that have topped Country Airplay for four or more weeks by artists making their first major inroads at the format (counting acts’ first entries on the chart as a lead artist or their initial songs promoted to country radio). They include memorable rookie anthems by acts that went on to become some of country’s biggest names.
Shaboozey, “A Bar Song (Tipsy)”
Image Credit: Daniel Prakopcyk
On Aug. 16, 1969, Merle Haggard’s “Workin’ Man Blues” climbed to No. 1 on Billboard’s Hot Country Songs chart. It became the seventh of the genre cornerstone’s 38 leaders, the third-most in the survey’s history after George Strait, who reigns with 44, and Conway Twitty, who notched 40. Haggard wrote “Workin’ Man Blues,” which Ken […]