Chart Beat
Page: 7
Shaboozey’s “A Bar Song (Tipsy)” (American Dogwood/EMPIRE/Magnolia Music) continues its record run in the top 10 of Billboard’s Country Airplay chart, dated Feb. 15. The song adds a 32nd week in the tier, extending the longest top 10 residency since the survey began in January 1990. The track surpassed Dustin Lynch’s “Thinking ‘Bout You” (featuring […]
The Weeknd continues his streak of dominance on the ARIA Albums Chart, debuting at No. 1 with his sixth studio album, Hurry Up Tomorrow.
This marks his fifth consecutive studio album to top the chart, following Beauty Behind The Madness (2015), Starboy (2016), After Hours (2020), and Dawn FM (2022). His 2021 greatest hits collection, The Highlights, which peaked at No. 2 in 2021, also sees a boost this week, rising to No. 8. The album, which The Weeknd has described as the final installment in a trilogy, arrives amid speculation that he may retire his moniker and release future music under his real name, Abel Tesfaye.
Meanwhile, Luke Combs’ ongoing Australian tour has reignited interest in his catalog. His 2017 album This One’s For You reaches a new peak at No. 5, surpassing its previous best of No. 7, while his latest album, Fathers & Sons, re-enters the top 10.
Explore
Explore
See latest videos, charts and news
See latest videos, charts and news
Luke Combs continues to see a major surge on the ARIA Albums Chart thanks to his ongoing Australian tour. His 2017 album This One’s For You climbs to No. 5, hitting a new peak after previously reaching No. 7 in both 2019 and 2022. His latest album, Fathers & Sons, also returns to the top 10, moving up from No. 13 to No. 11.
Trending on Billboard
Over on the ARIA Singles Chart, British singer-songwriter Lola Young holds onto the No. 1 spot for a second consecutive week with “Messy,” continuing an unprecedented run of female artists dominating the top position since mid-August 2024. This streak has included No. 1 hits from Charli XCX, Billie Eilish, Sabrina Carpenter, Rosé (with Bruno Mars), Gracie Abrams, and Mariah Carey.
Rosé and Bruno Mars’ “APT.” remains strong in the runner-up position at No. 2, while Gracie Abrams’ “That’s So True” holds at No. 3. Lady Gaga and Bruno Mars’ collaboration “Die With a Smile” sits at No. 4, with Chrystal’s “The Days – Notion Remix” rounding out the top five.
On the ARIA Vinyl Albums Chart, Hurry Up Tomorrow lands at No. 1, proving its demand across all formats. Luke Combs’ Fathers & Sons follows at No. 2, with Birds of Tokyo’s Universes at No. 3, Gracie Abrams’ The Secret of Us at No. 4, and Billie Eilish’s Hit Me Hard and Soft at No. 5.
At the turn of the millennium, Irv Gotti – who died Wednesday at age 54 – helped bring a new class of hip-hop and R&B acts to fame as the co-founder of Murder Inc. Records.
Also known as The Inc. Recordings, the imprint quickly established itself as a major force in the two genres, with Ja Rule and Ashanti emerging as its flagship stars. The Gotti brothers founded Murder Inc. Records, named after the famous Depression-era crime syndicate, as an imprint of Def Jam in 1998. The next year, Ja Rule burst to prominence with his debut album, Venni Vetti Vecci, which debuted at No. 3 on the Billboard 200 and gave the MC his first solo Billboard Hot 100 entry, “Holla Holla,” a No. 35 hit.
From there, the rapper continued to produce hit after hit, including three No. 1 smashes – “Always on Time,” featuring Ashanti, and a pair of featured spots on Jennifer Lopez’s “I’m Real” and “Ain’t It Funny,” both of which trace their chart-topping status to their respective Ja Rule and Ashanti-penned Murder Remix versions.
Ashanti, too, became a powerhouse inside Murder Inc., thanks to her signature hooks across the imprint’s biggest hip-hop records that led to her own string of huge R&B crossover hits. That combination culminated in a historic feat in 2002, as she became the first woman – and only third act at the time, joining The Beatles and Bee Gees – with three simultaneous top 10 hits on the Hot 100.
Gotti himself carved out a Hot 100 pedigree largely as a producer, with a credit on 28 charting Hot 100 hits from songs performed by Ja Rule, Ashanti, DMX, Jay-Z, Mary J. Blige, Fat Joe and Ye. As a credited artist, Gotti scored a top 10-charting hit on the Hot 100 with “Down 4 U,” which peaked at No. 6 in 2002 and was credited to Irv Gotti Presents The Inc. featuring Ja Rule, Ashanti, Charli Baltimore and Vita.
Given the imprint’s stamp and Gotti’s role in that pivotal era for hip-hop and R&B, Billboard revisits the Murder Inc. legacy with a review of its top 20 hits on the Hot 100.
Murder Inc.’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.
“The Way That I Love You” – Ashanti
Timothée Chalamet makes his Billboard album chart debut as the soundtrack to the Bob Dylan biopic, A Complete Unknown, in which Chalamet stars as Dylan, arrives across four charts (dated Feb. 8). The set launches on Soundtracks (No. 17), Indie Store Album Sales (No. 23), Top Current Album Sales (No. 29) and Top Album Sales […]
Number_i’s “GOD_i” rules this week’s Billboard Japan Hot 100, dated Feb. 5.
After dropping Jan. 27, the latest single by the three-man group produced by member Yuta Kishi hit No. 1 for downloads, video views, and radio airplay, while coming in at No. 16 for streaming. The track launched with 60,058 downloads, which is second-most for the group following the top first-week figure for “GOAT” (64,321 units). Other songs by the trio have climbed this week due to the new single’s release, with “BON” rising 87-86 and “INZM” 97-91.
Mrs. GREEN APPLE’s “Darling” holds at No. 2. Streams for the new single by the three-man band are up to 102% week-over-week, rising a notch to No. 1, and the track also hits No. 5 for downloads, No. 2 for radio, and No. 3 for video. “Lilac” by the hitmakers follows at No. 3 on the Japan Hot 100, and while points for the former No. 1 song have been on the decline after peaking on the Jan. 15 chart, the song has coasted along in the top 5 for over 9 months since hitting No. 3 on the chart dated Apr. 24 last year.
Explore
Explore
See latest videos, charts and news
See latest videos, charts and news
Kenshi Yonezu’s “BOW AND ARROW” debuts at No. 4. The theme song for the anime series Medalist was downloaded 29,132 times to hit No. 2 for the metric, while coming in at No. 7 for streaming, No. 8 for radio, and No. 19 for video.
Trending on Billboard
Hinatazaka46’s “Sotsugyo shashin dake ga shitteiru” bows at No. 6 with 496,191 CDs sold in its first week (No. 1 for the metric), while BEYOOOOONDS’s “Do-Did-Done” also charts for the first time at No. 7 with 99,460 CDs sold (No. 2 for the metric).
Notable chart moves outside the top 10 include Gen Hoshino’s first new single in a year called “Eureka” hitting No. 11 and Creepy Nuts’ “doppelgänger” jumping 56-23. The brand-new girl group HANA, born from the audition project No No Girls, launches at No. 36 with its pre-debut track “Drop.” The track hit No. 6 for downloads and No. 54 for streaming.
The Billboard Japan Hot 100 combines physical and digital sales, audio streams, radio airplay, video views and karaoke data.
See the full Billboard Japan Hot 100 chart, tallying the week from Jan. 27 to Feb. 2, here (https://www.billboard.com/charts/japan-hot-100/). For more on Japanese music and charts, visit Billboard Japan’s English Twitter account (https://twitter.com/BillboardJP_ENG).
It’s the fifth week of 2025, and Argentinians La T y La M and Malandro de America have held strong atop the Billboard Argentina Hot 100 as their first collab, “Amor De Vago,” adds a fifth week at No. 1 on the chart dated Feb. 08. Explore Explore See latest videos, charts and news See […]
Both Lil Wayne and Drake earn their first No. 1s on the TikTok Billboard Top 50 chart as Lil Wayne’s “She Will,” which features Drake, jumps 4-1 on the Feb. 8-dated tally.
The TikTok Billboard Top 50 is a weekly ranking of the most popular songs on TikTok in the United States based on creations, video views and user engagement. The latest chart reflects activity accumulated Jan. 27-Feb. 2. Activity on TikTok is not included in Billboard charts except for the TikTok Billboard Top 50.
“She Will,” which was originally released in 2011 on Lil Wayne’s album Tha Carter IV, has exceled on TikTok thanks to a dance trend that features creators performing leg-shaking moves, often up against a wall of some sort.
Trending on Billboard
Usages of the song generally highlight the “Ladies and gentlemen, Drizzy” lyric before the outro, though the most utilized sound then drops out the vocals in favor of the synth-led instrumental.
Drake previously reached No. 2 on the chart twice: on his “IDGAF” featuring Yeat in 2023, and on the Sexyy Red collaboration “U My Everything” last year. As for Lil Wayne, “She Will” is his second top 10, following the No. 9 peak of Tyler, the Creator’s “Sticky,” on which he’s featured alongside GloRilla and Sexyy Red.
“She Will” debuted and peaked at No. 3 on the Billboard Hot 100 in September 2011. In the Billboard tracking week ending Jan. 30, the song earned 5.4 million official U.S. streams, up 30%, according to Luminate.
Lil Wayne and Drake’s coronation isn’t the only thing happening in the TikTok Billboard Top 50’s top 10 this week. Former No. 1 Stepz’s “Rock” rebounds 8-2, while 5 Seconds of Summer’s “She Looks So Perfect” is the week’s top debut at No. 3.
“She Looks So Perfect,” which peaked at No. 24 on the Hot 100 in 2014 as 5 Seconds of Summer’s breakout song, benefits from a TikTok trend in which users respond to the hypothetical compliment “you’re so funny,” often with the creator responding by talking about trauma that made them that way – so much so that 5 Seconds of Summer’s Michael Clifford reacted to the trend with a video captioned, “’you’re so funny’ thanks our song is now the theme song for trauma bonding.”
The song sports a 31% gain in the week ending Jan. 30 to 1.4 million streams.
Former No. 1 “Champagne Coast” by Blood Orange also returns to the top five, leaping 7-4, while 7dnight’s “Khong Sao Ca” vaults 24-5 in its second week on the chart. Featured on the Vietnamese music competition show Rap Viet and released in November 2024, “Khong Sao Ca” rises via a dance trend, while some top-performing clips also highlight pets and stuffed animals.
Earth, Wind & Fire’s classic “Let’s Groove” shoots 11-6, marking the group’s second top 10 after “September” in 2023. As the title and song’s general vibe suggests, its rise is made up mostly of dance videos, some following a specific trend and others simply featuring the dancer showing off their best moves.
“Let’s Groove” peaked at No. 3 on the Hot 100 in 1981 and accumulated 2.3 million streams in the latest tracking period, up 17%.
The other newcomer to the TikTok Billboard Top 50’s top 10 is Fetty Wap’s “Again,” which debuts at No. 8 a week after his “Jimmy Choo” appeared on the ranking at No. 9. Many of the videos reference listening to the song on JBL speakers and setting it to TV and movie scenes, alongside dances, lip-synchs and more.
“Again,” which peaked at No. 33 on the Hot 100 in 2015, is up 250% in streams to 4.8 million in the Jan. 24-30 tracking week.
See the full TikTok Billboard Top 50 here. You can also tune in each Friday to SiriusXM’s TikTok Radio (channel 4) to hear the premiere of the chart’s top 10 countdown at 3 p.m. ET, with reruns heard throughout the week.
What were some of the most notable trends among No. 1 hits on the Billboard Hot 100 songs chart during 2024? Hit Songs Deconstructed, which provides compositional analytics for top 10 Hot 100 hits, has released its 2024 No. 1 Hit Focus report.
Here are three takeaways from Hit Songs Deconstructed’s latest in-depth research.
Hip-Hop/Rap Rose
Hot 100 No. 1s were represented by six primary genres in 2024, according to Hit Songs Deconstructed. Hip-hop/rap led for the first time since 2018 with a 38% share. Country followed at a one-quarter take and pop rounded out the top three with just under a one-fifth share.
The report also notes that hip-hop/rap’s share of Hot 100 No. 1s more than doubled from 2023 to 2024. Kendrick Lamar led the genre with two chart-toppers: “Not Like Us” and “Squabble Up.”
Meanwhile, country remained strong among Hot 100 No. 1s last year as a primary genre. Notes Hit Songs Deconstructed: “After rising from 0% to 24% in 2023, country’s share of No. 1s held steady in 2024 with one-quarter of songs.” Shaboozey’s “A Bar Song (Tipsy)” was the longest-leading such smash in 2024, running up a record-tying 19 weeks at No. 1.
‘80s in the ‘20s
Along with six primary genres, “17 diverse subgenres and influences shaped the sound and vibe of 2024’s No. 1 hits” on the Hot 100, according to Hit Songs Deconstructed’s report. “Pop’s influence was particularly prominent, appearing in three-quarter of songs. Hip-hop/rap followed at 38% and retro influences in general rounded out the top three at 38%.”
Notably, “The 1980s continued to be the retro decade of choice,” per Hit Songs Deconstructed’s findings about subgenres’ influences on Hot 100 No. 1s, heard in such as hits as “Squabble Up,” Taylor Swift’s “Fortnight” featuring Post Malone, and Ariana Grande’s “We Can’t Be Friends (Wait for Your Love).”
Billboard
Also among subgenres’ influences on Hot 100 No. 1s in 2024, “Country’s rose to nearly one-third of songs in 2024,” per Hit Songs Deconstructed. “All stemmed from the country primary genre except for Sabrina Carpenter’s country-influenced pop smash ‘Please Please Please.’”
Plus, dance/club’s subgenre influence “rose slightly to one-quarter of songs” atop the Hot 100 in 2024. Among them: Jack Harlow’s “Lovin on Me,” Beyoncé’s “Texas Hold ‘Em” and Grande’s “We Can’t Be Friends” and “Yes, And?”
More Choruses, But Later & Longer No. 1s
“The average amount of time it takes for No. 1 hits to get to the first chorus has been increasing since 2021, rising from 33 seconds to 45 seconds in 2024,” Hit Songs Deconstructed reports.
The 0:40-0:59 range for a first chorus tripled from 18% of Hot 100 No. 1s in 2023 to 44% in 2024. Plus, a quarter of choruses in No. 1s occurred after the 1-minute mark, spanning genres from R&B/hip-hop (Lamar’s “Not Like Us” and Future, Metro Boomin and Lamar’s “Like That”) to rock (Hozier’s “Too Sweet”) and dance/club (Grande’s “Yes, And?”)
Also noteworthy, “The majority of No. 1s – 69% – had three choruses in their framework” in 2024, per Hit Songs Deconstructed. That share has more than tripled from 2022 (31%). Conversely, songs with two choruses have fallen from 46% to 29% to 19% among Hot 100 leaders since 2022.
Overall, Hit Songs Deconstructed notes, the average length of 2024’s Hot 100 No. 1 was 3:30, eight seconds longer than the 2023 average. The 4-minute-plus range has “generally been on the rise since 2019, increasing from 0% to 25% of songs. Its representatives were all hip-hop/rap songs except for Hozier’s “Too Sweet.’ ”
Welcome to Billboard Pro’s Trending Up newsletter, where we take a closer look at the songs, artists, curiosities and trends that have caught the music industry’s attention. Some have come out of nowhere, others have taken months to catch on, and all of them could become ubiquitous in the blink of a TikTok clip.
Explore
See latest videos, charts and news
See latest videos, charts and news
This week: The Grammys make big winners on streaming out of both long-established legends and rising stars, while Fetty Wap scores his biggest hit in a decade with a song from a decade ago and Severance dips its toes into big rock synchs.
Biggest Grammys Gainers: ‘Cowboy Carter,’ ‘Von Dutch’ and All Things Doechii
The 67th Annual Grammy Awards ended with history being made: Beyoncé at long last won the album of the year award, as her country crossover Cowboy Carter finally earned the most Grammy-nominated and Grammy-winning artist in history the top prize of the ceremony. The magnitude of that victory is still being put into context days later, but one thing was for certain: Cowboy Carter was going to see a major uptick in streaming activity immediately after the Grammys, with unfamiliar viewers perusing the album and longtime fans revisiting it nearly a year after its release.
Trending on Billboard
On Jan. 26, the Monday before the Grammys, Cowboy Carter earned 1.07 million U.S. on-demand audio streams, according to Luminate. On the Monday after the Grammys (Feb. 3), however, that daily total shot to 7.50 million — a 595% increase. As for the rest of the Big Four, Kendrick Lamar’s “Not Like Us” was up 74% in daily streams (from 1.37 million on Jan. 26 to 2.4 million on Feb. 3) following its wins for record of the year and song of the year, while Chappell Roan’s catalog rose 50% (from 5.96 million streams on Jan. 26 to 8.99 million streams on Feb. 3) thanks in part to her best new artist victory.
Roan’s “Pink Pony Club” — which received a brightly colored, rodeo clown-filled performance showcase — naturally earned an even bigger bump, rising 109% (851,000 daily streams to 1.77 million) during that span. Other notable gainers thanks to performances included Charli XCX’s “Von Dutch,” which zoomed from 183,000 daily streams to 423,000 (up 130%) following her raucous performance to close out the ceremony; Raye’s “Oscar Winning Tears,” which jumped from 216,000 daily streams to 334,000 (up 54%) thanks to the British artist’s vocal pyrotechnics, and Doechii’s eye-popping medley, which constituted the best performance of the ceremony, helped “Catfish” leap from 210,000 daily streams to 658,000 (up 213%) and “Denial is a River” move from 1.08 million daily streams to 2.08 million (up 93%).
In addition to her performance, Doechii also delivered a moving acceptance speech following her win for best rap album with Alligator Bites Never Heal — a breakthrough moment, which helped her entire catalog soar from 2.84 million daily streams to 8.01 million (up 182%). – JASON LIPSHUTZ
Fetty Wap Is Hot ‘Again’ Thanks to Slightly Confusing Viral Trend
10 years after the New Jersey rapper took the world by storm with hits like “Trap Queen,” “My Way” and “679,” Fetty Wap is hot again – and the conversation is all around his aptly titled 2015 Billboard Hot 100 top 40 hit “Again” (No. 33).
Centered around the phrase “blasting Fetty Wap on the JBL speaker,” the joke of the meme is playing he rapper’s songs at particularly inappropriate moments via the JBL. At the top of the new year (Jan. 9), one user used “Again” in a video captioned “How do you think the pilgrims would react if I pulled up to the Mayflower with my JBL speaker and introduced them to Fetty Wap?”; that post currently has over 3.6 million views and a reply from the official History Channel TikTok account. More history–minded posts followed, and near the end of the month (Jan. 24), the trend evolved past historical settings. One user used the official “Again” sound to make a World War III quip, while another used it to make a joke about blasting the track at a friend’s funeral.
According to Luminate, “Again” earned over 4.77 million official on-demand U.S. streams last week (Jan. 24-30). That’s a 265% increase in streaming activity from the 1.3 millin streams it pulled the week prior (Jan. 17-23). Last weekend (Jan. 24-27), the song posted a 387% jump to 6.69 million streams versus the 1.37 million it logged the weekend prior (Jan. 31-Feb. 3). Currently, the official “Again” sound boasts over 250,000 posts. Fetty Wap may unfortunately still be incarcerated, but clearly a comeback isn’t entirely out of the question. — KYLE DENIS
The Who and Stone Roses Jams Get ‘Severance’ Bump
The first season and a quarter of Apple TV’s sci-fi workplace drama Severance has been relatively light on high-profile synchs – but thank Kier, the show is starting to break out the big guns midway through its second season. The third episode of Season Two, “Who Is Alive?,” is bookended with a pair of songs used in big spots: The Stone Roses’ mid-’90s alt-rock hit “Love Spreads” soundtracks a road journey for the (maybe?) villainous Ms. Cobel (Patricia Arquette) to start the show, while the ep ends with The Who’s early-’80s AOR staple “Eminence Front” punctuating a breakthrough moment for protagonist Mark S (Adam Scott).
The synchs haven’t resulted in Stranger Things-sized gains yet for the songs in question, but both saw big bumps following their S2E03 appearance in the hit show. “Love Spreads” racked up a combined 33,000 U.S. on-demand audio streams over the first four days of this tracking week – with the episode premiering on the first day, Friday (Feb. 20) – a gain of 78% over the same period the week prior, according to Luminate. “Eminence Front” was also up 27% to 326,000 over the same time span, while the two songs combined to sell nearly 400 copies after selling under 100 the week before. If Severance keeps up with the inspired synch choices, maybe it’ll be producing legitimately viral hits by the time Mark completes the Cold Harbor project. – ANDREW UNTERBERGER
Yung Bredda Heats Up the Winter with Soca Smash
Between Machel Monatano’s historic NPR Tiny desk set and Yung Bredda’s infectious new hit, soca is having a beautiful start to 2025. Trinidadian soca star Yung Bredda’s “The Greatest Bend Over” — a sweet ode to the woman with “di wickedest bend over” — arrived late last year on Full Blown’s “Big Links” riddim (Dec. 2). The song has quickly become one of the most dominant current hits across the Caribbean with carnival season still to come. Soca is a bit more of a nice genre in the U.S., but “The Greatest Bend Over” is still finding some traction.
During the period of Dec. 13-19, Yung Bredda’s track earned just over 35,000 official on-demand U.S. streams. A little over a month later (Jan. 24-30), the song’s streaming exploded by a whopping 940% to over 367,000 streams. On TikTok, the song’s official sound plays in over 34,400 posts – a number that’s sure to grow as the song continues to enchant different parts of the globe.
Vybz Kartel’s comeback may be giving dancehall all the airtime, but pay attention to the soca scene too! — KD
It’s been only two weeks since Karol G entered the record books with an unmatched 26 weeks at No. 1 on Billboard’s Latin Airplay chart with “Si Antes Te Hubiera Conocido.” Now, the Colombian superstar is setting yet another new record over on the Tropical Airplay chart (dated Feb. 8).
Explore
See latest videos, charts and news
See latest videos, charts and news
“Si Antes Te Hubiera Conocido” adds a 30th week at No. 1 on the tropical radio ranking, marking the most weeks atop 30-year-old chart for any song.
Trending on Billboard
“Si Antes,” released June 21, 2024 via Bichota/Interscope/ICLG, reaches the record despite a 7% decline in audience impressions; that’s 8.8 million earned in the U.S. during the tracking week of Jan. 24-30, according to Luminate.
With 30 weeks at No. 1, Karol ends a historic run for Prince Royce, who previously commanded the chart for 29 weeks when “Carita De Inocente” capped its reign on the October 17, 2020-dated ranking.
As “Si Antes” resets the longest-leading run on Tropical Airplay, here’s a review of the songs with the most weeks atop, since the chart launched in October 1994.
Weeks at No. 1, Title, Artist, Peak Date30, “Si Antes Te Hubiera Conocido,” Karol G, July 20, 202429, “Carita de Inocente,” Prince Royce, March 28, 202022, “De Vuelta Pa’ La Vuelta,” Daddy Yankee & Marc Anthony, Jan. 2, 202118, “Inmortal,” Aventura, April 20, 201918, “Danza Kuduro,” Don Omar & Lucenzo, Nov. 13, 201015, “Bailando Bachata,” Chayanne, August 5, 202315, “La Mejor Versión de Mi,” Natti Natasha & Romeo Santos, Oct. 26, 201915, “Centavito,” Romeo Santos, Oct. 13, 201815, “Dile Al Amor,” Aventura, Jan. 2, 201015, “Perdidos,” Monchy & Alexandra, Nov. 6, 2004
Elsewhere, “Si Antes” cedes the throne to Bad Bunny’s “El Clúb” on the overall Latin Airplay chart, after a record-extending 27 weeks at No. 1.