Chart Beat
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Tamela Mann earns her record 11th No. 1 on Billboard’s Gospel Airplay chart as “Working for Me” ascends to the top of the tally dated Sept. 21. It increased by 6% in plays Sept. 6-12, according to Luminate.
With the song, which Mann co-authored with Phillip Bryant and Tameka Mintze, she breaks out of a tie with fellow format cornerstone Kirk Franklin for the most No. 1s on the chart, which began in March 2005. James Fortune & FIYA follow with nine leaders, while Jekalyn Carr, Todd Dulaney, Tasha Cobbs Leonard and Marvin Sapp are next with seven apiece.
“My greatest joy is to be able to encourage people and uplift them. I never dreamed that I could reach people on this level, but I am so thankful,” Mann tells Billboard. “I’m grateful that God has given me the opportunity and platform to share my music and His message with the world and impact lives in a positive way. I have tears of joy, and I want to thank everyone for your love and support on this journey together.”
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With “Working For Me,” Mann also earns her fifth Gospel Airplay No. 1 in a row. The song follows “Finished,” which dominated for three weeks starting last March; “He Did It” (two, May 2022); “Help Me” (four, beginning in September 2021); and “Touch Me” (five, starting in December 2020).
Mann matches Cobbs Leonard, also on an active run, for the most consecutive Gospel Airplay chart-toppers among women. Overall, Dulaney and Jonathan McReynolds are tied for the most back-to-back No. 1s with six consecutive chart-toppers each.
Winans’ ‘King’ Rules for 20th Week
On Billboard’s multimetric Hot Gospel Songs survey, CeCe Winans’ “That’s My King” rolls up its 20th week at No. 1.
The hit becomes the 15th to lead Hot Gospel Songs for 20 weeks or longer since the chart began in 2003. Elevation Worship and Maverick City Music’s “Jireh,” featuring Chandler Moore and Naomi Raine, boasts the longest reign (86 weeks starting in April 2021), followed by Marvin Sapp’s “Never Would Have Made It” (46 weeks, beginning in August 2007); and Kirk Franklin’s “Wanna Be Happy?” (45 weeks, starting in September 2015).
“That’s My King” became Winans’ third Hot Gospel Songs chart No. 1 in May and has logged an uninterrupted run in charge. Concurrently, it rises 6-5 on Hot Christian Songs, returning to its best rank. During the tracking week, it collected 6.3 million all-format radio impressions, 1.3 million official U.S. streams and 1,000 sold.
With the first quarter of the 21st century coming to a close, Billboard is spending the next few months counting down our staff picks for the 25 greatest pop stars of the last 25 years. We’ve already named our Honorable Mentions and our No. 25, No. 24, No. 23, No. 22, No. 21, No. 20, No. 19, and No. 18 stars, and now we remember the century in Shakira — who transformed Latin pop with her groundbreaking early-’00s crossover, soared to global fame with hits like “Hips Don’t Lie” and “Waka Waka” and influenced a new generation of artists across multiple genres.
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At the dawn of the 21st century, Shakira not only emerged as a global musical force, but reshaped how Latin artists crossed into the mainstream, and thrived there. As the millennium turned, the concept of a Latin pop artist dominating worldwide charts in two languages was more aspirational than realistic. This was despite some crossover successes seen in the late ’90s — artists like Jennifer Lopez sang primarily in English, and only a few, such as Selena and Ricky Martin, made significant impacts while performing extensively in Spanish. Yet, Shakira artfully bridged this gap, turning it into a cultural spectacle in 2001. Blending her Colombian roots with a sharp pop sensibility, she not only broke through linguistic barriers, but also set the stage for the breakthroughs enjoyed by non-English speaking artists to follow.
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Today, the 15-time Latin Grammy winner is widely considered the most successful female Latin artist of all time, with 95 million records sold over her three-decade career. Many of her songs have become more than hits, but rather pivotal cultural moments that showcase her as a multidimensional superstar. From the Hot 100 No. 1 juggernaut “Hips Don’t Lie” to the FIFA World Cup banger “Waka Waka” and the unapologetic diss track “Shakira: BZRP Music Sessions, Vol. 53” with Bizarrap – released, respectively, across the first three decades of the 21st century – her tracks have become staples at global gatherings, turning sports anthems into pop phenomena and solidifying her status as an international music ambassador.
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Fresh off conquering Latin America with her wildly successful third and fourth studio albums — 1995’s Pies Descalzos and 1998’s Dónde Están Los Ladrones? — Shakira, a belly-dancing, guitar-playing, drum-pounding singer/songwriter, transformed her image and sound to kick off the new millennium. Trading her rockera brunette locks for a sexy blonde look, she set her eyes on the English-language market and released the groundbreaking Laundry Service in November 2001. Propelled by timeless hits like “Whenever, Wherever” and “Underneath Your Clothes,” which climbed to No. 6 and No. 9 on the Hot 100, respectively — the album reached a No. 3 peak on the Billboard 200. The LP was both a commercial triumph and a cultural milestone for Latin pop.
In the peak teen-pop era of TRL, Shakira distinctively carved out her niche as an alternative-leaning pop artist — complete with dirty blonde hair with occasional black streaks and braids, and a hippie-rocker look. An exceptional dancer and multi-instrumentalist with a genuine rock edge, she also stood out as a songwriter who uniquely adapted her lyrical style to English — a language she had only recently learned. Her instantly recognizable voice carried a deep, powerful tone laden with emotional cries, reminiscent of Mercedes Sosa’s depth and Alanis Morissette’s raw energy. Yet, it was entirely her own, and her combination of talents and novel approach made Shakira a unique presence in early 2000s pop, challenging conventional norms and paving a new path towards stardom.
Shakira
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Shakira
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As Shakira’s presence on the world stage expanded, she continued to break new ground. Released in June 2005, Fijación Oral, Vol. 1 marked her sixth studio album, and first while on top of the world. Despite her major pop success singing in English on Laundry Service, she still decided to return to singing in Spanish for its follow-up — a risky move that nonetheless paid off both artistically and commercially. Co-produced by luminaries like Gustavo Cerati, Lester Méndez, Luis Fernando Ochoa and José “Gocho” Torres, singles like “No”, “Días de Enero”, “Las de la Intuición” and “La Tortura” with Alejandro Sanz gained wide recognition. Particularly notable was her team-up with the Spanish superstar Sanz, one of the first examples of a major collaboration in Latin music, at a time when such partnerships were rare. Largely praised as one of the best duets of the 2000s, the pop-reggaetón track helped set a precedent for future collaborations across the industry. The latter song became the biggest hit of the set, and the only one that entered the Hot 100.
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The album debuted at No. 4 on the Billboard 200, the first all-Spanish set to break to the chart’s top 5. Fijación Oral, Vol. 1 also spent 17 weeks at No. 1 on Top Latin Albums, the most for the Colombian star at the top of the ranking. She quickly followed that set with Oral Fixation, Vol. 2, the English-language counterpart to the Spanish-sung Vol. 1, released that November. Here, Shakira continued to explore new musical territories, venturing more into mainstream pop and rock, marking a noticeable shift from her Latin pop roots and Middle Eastern influences. This album saw her collaborating with iconic musicians such as Carlos Santana on “Illegal” and Gustavo Cerati on “The Day and the Time,” though these tracks, despite the star-studded lineup, didn’t achieve the impact expected.
However, “Hips Don’t Lie,” featuring Wyclef Jean, was added the following year to Shakira’s Vol. 2 in a reissue aimed at boosting the album’s sales, after lead single “Don’t Bother” had underwhelming commercial success. This move helped the album experience a significant revival, boosting it from No. 98 all the way to the top 10 that May. Blending salsa and reggaetón with a Jerry Rivera sample, the song also catapulted to the top of the Hot 100, becoming Shakira’s only No. 1 to date on the all-genre chart and remaining there for two weeks. Despite the album’s rocky start, the LP was ultimately redeemed by the massive success of “Hips,” which has endured as one of the best-remembered pop songs of that entire era (and one of our staff’s top 500 pop songs of all time).
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The Colombian superstar continued to pour out more records, and released She Wolf in October 9, 2009 — which snarling electropop title track ended up becoming her moniker up to this day, and reached No. 11 on Hot 100 and No. 1 on Dance Club Songs. The album was followed by the more back-to-basics Sale el Sol on 2010, which returned Shakira to the Billboard 200’s top 10, peaking at No. 7. Prior to these, in 2007, she also united with superstar Beyoncé on “Beautiful Liar,” marking an unprecedented collaboration of its time, an American pop icon and a Latin sensation. The song reached No. 3 on the Hot 100.
While she continued to prove her trendsetting and hit-making prowess as a singles and albums artist, she also established herself as a powerhouse in the live performance arena. Her electrifying performance at the 2010 FIFA World Cup in South Africa, where she sang the tournament’s official trilingual anthem “Waka Waka (This Time for Africa),” featuring Freshlyground, became a global call to unity, reflecting the spirit of the tournament and further establishing Shakira as a beloved global icon. (It was also there where she met her former partner, soccer star Gerard Piqué, who she would have two children with and be with for over a decade.) This wasn’t Shakira’s first World Cup performance; she debuted in 2006 with “Hips Don’t Lie” at the closing ceremony in Germany, returned for South Africa, and again in 2014 in Brazil, where she released “La La La” featuring Carlinhos Brown.
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Shakira’s musical journey saw continued success with the release of her eponymous 2014 album and 2017’s El Dorado. The former became her highest-peaking album on the Billboard 200, reaching No. 2, and the latter soared to the No. 1 position on Top Latin Albums for five weeks, also dominating the Latin Pop Albums chart for an impressive 63 weeks. Although these achievements maintained her relevance, they couldn’t quite match the explosive impact of her early 21st-century successes. However, notable hits from these albums, like the Shakira-Rihanna collaboration “Can’t Remember To Forget You” and “Chantaje” featuring the then-rising Colombian pop star Maluma, made significant inroads on the Hot 100.
Yet, there was perhaps no greater proof that Latin music cemented its place in American pop culture in the 2020 Super Bowl LIV halftime show, when Shakira and Jennifer Lopez took the world’s biggest stage together on February 2. Shak’s set was thoroughly Latin, featuring a lineup of her Spanish-language hits and dance styles that highlighted her Colombian (and Lebanese) heritage, including champeta and mapalé, an Afro-Colombian dance. This made her performance distinct compared to other Super Bowl halftime shows, aside from Gloria Estefan who performed three times in the ‘90s. The set also featured then-rising global stars Bad Bunny and J Balvin, bringing their own tropical-urbano flair. In contrast, J.Lo delivered more of a razzle-dazzle, high-energy set, reminiscent of a Las Vegas show.
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Two years later, Shakira found herself making big headlines again – this time not for her musical achievements or jaw-dropping performances, but for her widely publicized breakup (and tax issues). In early 2022, rumors had swirled that Shakira was ending her 11-year relationship with Gerard Piqué. That June, they confirmed their split, igniting a flurry of tabloid speculation about the soccer player’s infidelity with a younger, 23-year-old woman he reportedly started dating soon after. This personal turmoil attracted intense media scrutiny, with paparazzi besieging Shakira’s home and her children’s school in Barcelona, transforming a private family ordeal into a full-blown media circus.
As much public embarrassment as the relationship fallout caused Shakira, it also helped inspire her most commercially successful period in at least a decade. At the start of 2023, she released the explosive electropop diss track, “Shakira: Bzrp Music Sessions, Vol. 53” with Argentine hitmaker Bizarrap. Her explicit finger-pointing and unapologetic storytelling marked a significant departure from the usual veiled references in breakup songs, as she provided intimate details of her breakup, leaving no room for ambiguity by naming names and addressing personal drama head-on. With bars like “Las mujeres ya no lloran, las mujeres facturan” (“Women don’t cry anymore, women cash in”), the self-proclaimed She Wolf penned a new manifesto of female empowerment, challenging the double standards imposed on Latin women in society. The song became the most viewed clip on YouTube for a Latin track in its first 24 hours, with 63 million views, and marked multiple Billboard milestones, including making Shakira the first female vocalist to debut in the top 10 of the Billboard Hot 100 with a Spanish-language track; it also won song of the year and best pop song at the 2023 Latin Grammys.
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The hits kept rolling in, as Shakira scored another Hot 100 top 10 with Karol G on their much-anticipated teamup “TQG.” Together, the two biggest Colombian female pop stars one generation apart delivered the ultimate tabloid-pop hit; Karol G also addressed her tumultuous breakup with Puerto Rican trap star Anuel AA. Both “Vol. 53” and “TKG” reached the Hot 100’s top 10, and “TQG” topped the Billboard Global 200. The song became Karol’s first top 10 hit, and still her only top 10 hit to date.
Shakira essentially spent the rest of the year collecting accolades for her spectacular comeback and overall legacy. In May 2023, Billboard honored Shakira as its first ever Latin Woman of the Year; in July, Premios Juventud gave her its Agent of Change Award. In September, she received the Michael Jackson Video Vanguard Award at the MTV Video Music Awards — the first South American artist to receive it — where she also performed a dazzling, 10-minute medley of hits.
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Nonetheless, in her 2023 cover story with Billboard, Shakira revealed that for the past seven years, she had been sidetracked by family matters and life in Barcelona, far from music industry action. Her focus shifted following her romantic split, when she cathartically began pouring her heart into her music. Further hits followed: “Te Felicito,” with Rauw Alejandro, climbed to No. 10 on Hot Latin Songs and No. 67 on the Hot 100 in May and June of 2022, respectively; in November, “Monotonía,” with Ozuna (its video shows Shakira’s heart being ripped out and crushed by a shoe), climbed to No. 3 on Hot Latin Songs.
With a gap of seven years since El Dorado — due to Piqué “dragging” her down, in her words — Shak triumphantly released Las Mujeres Ya No Lloran in March 22, 2024. The album, her 12th studio effort, showcased a hodgepodge of sounds, from infectious Afrobeats to soulful bachata, Tex-Mex rhythms and even a return to her rock roots. It quickly garnered critical acclaim, also debuting at No. 1 on both the Top Latin Albums and Top Latin Pop Albums charts. This milestone marked Shakira as the first woman to top these charts across four decades. Continuing her journey as a monumental force, Shakira is set to return to the stage with Las Mujeres Ya No Lloran World Tour, kicking off November 2, on her first tour since 2018 with El Dorado World Tour.
Shakira
Noam Galai/Getty Images for MTV
Shakira’s early foresight in blending Spanish and English within her music paved the way for today’s artists, who now benefit from the doors she helped to open. Reflecting on the music industry today, superstars like Bad Bunny, J Balvin and Karol G navigate high-profile careers entirely in Spanish, a testament to how far the industry has evolved from the days when bilingual or English-language offerings were deemed necessary for true crossover success.
With the tremendous and more recent success of superstars like Bunny, Balvin, Karol, and also música mexicana stars like Fuerza Regida and Grupo Frontera — both collaborators on her latest album — their momentum has also helped legacy Latin artists like Shakira maintain their relevance and influence amid the surge of Latin music, currently the fastest-growing genre in the U.S. With the 2024 Latin Grammy nominations announced on Tuesday (Sept. 17), Shakira continues to garner recognition: She is currently nominated for three awards, including album of the year for Las Mujeres Ya No Lloran, song of the year for the Tex-Mex-leaning “(Entre Paréntesis)” with Grupo Frontera, and best Latin electronic music performance for “Bzrp Music Sessions, Vol. 53 (Tiësto Remix).”
Shakira’s saga, marked by groundbreaking successes and personal challenges, epitomizes the journey of a true pop titan in the 21st century. Charting a path that brought Latin rhythms into mainstream global consciousness, her countless hits and charismatic stage presence have not only defined her career but also substantially influenced the current musical landscape. Moreover, her resilience and adaptability exhibit a model of empowerment and artistic authenticity. By weaving through personal hardships and consistently emerging on top, Shakira has not merely navigated the complex terrains of global pop music but has left an indelible mark on it. As we celebrate her as one of the greatest pop stars of this era, Shakira remains a pillar of innovation and resilience. After all, her hits don’t lie.
Read more about the Greatest Pop Stars of the 21st Century here — and be sure to check back on Thursday when our No. 16 artist is revealed!
The first year of the TikTok Billboard Top 50 chart featured an array of music that reached the fledgling ranking’s upper reaches, with 21 songs topping the weekly ranking from its inception as of the Billboard charts dated Sept. 16, 2023.
Tommy Richman’s “Million Dollar Baby,” however, was a leg above the rest.
From its coronation at No. 1 on the May 18 survey (after debuting at No. 2 the previous week) to its to-date final week atop the ranking (July 20), Richman’s summer hit crowned the TikTok Billboard Top 50 for 10 uninterrupted weeks. What’s more: as of this writing, “Million Dollar Baby” has never fallen below No. 6. In fact, the latest weekly chart (Sept. 14) finds it up one spot to No. 5.
But “Million Dollar Baby” is a fitting longest-running No. 1 for the chart’s inaugural year. To recap the story you’ve probably already been told: on April 13, Richman uploaded a 14-second clip of the song to his TikTok. It exploded immediately, having racked up nearly 14 million plays as of mid-September. Two days later, he was posting more clips featuring different music, but the demand in the comments was clear: “Drop million dollar baby rn,” one read. He released the song “Selfish” a few days later on April 19, and yet the pleas persisted: “More million dollar baby clips.”
The next week, it happened. After a few more videos promoting its impending release (including one from April 23 that has even more views – over 18 million – than the original), Richman dropped “Million Dollar Baby” on April 26, and the song immediately shot to the top of the TikTok Billboard Top 50, as well as charts worldwide. On the multimetric Billboard Hot 100 (which does not include any TikTok activity), it both debuted and peaked at No. 2 on the May 11 tally and spent the next nearly four months in the top 10.
Pent-up demand for the song helped drive initial numbers, but in the months since, “Million Dollar Baby” has had its own dance trend that’s dominated the conversation. By the end of the summer, TikTok crowned the tune its song of the summer.
Read on for more highlights of the TikTok Billboard Top 50’s chart’s first year. You can see the latest TikTok Billboard Top 50 chart here, and you can also tune in each Friday to SiriusXM’s TikTok Radio (channel 4) to hear the premiere of the chart’s top 10 countdown at 3 p.m. ET, with reruns heard throughout the week.
‘Love’ for Mitski
Surf Curse has been steadily releasing music for more than a decade and now, for the first time, the surf rockers debut on the Billboard Hot 100 with their five-year-old song “Disco.” Explore Explore See latest videos, charts and news See latest videos, charts and news Released in June 2019 via Danger Collective and more […]
There’s just no stopping Sabrina Carpenter, who is on course to savor a fourth consecutive week at No. 1 on the U.K. Singles Chart this Friday (Sept. 20) with her latest banger “Taste.”
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According to the latest chart blast, the impressive run sees the pop star maintaining her dominant streak, and if Carpenter secures another week at the top, it will mark her 16th cumulative week at No. 1 in the U.K in 2024.
The rest of the Top 5 remains a Carpenter stronghold as well. “Espresso” continues to brew success and is predicted to hold steady at No. 2, while “Please Please Please” won’t have to beg to hold its spot at No. 4. Sabrina’s Short n’ Sweet era has taken over the U.K. charts, with multiple singles continuing to perform strongly.
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Meanwhile, Lady Gaga and Bruno Mars are climbing the chart with their lounge-pop duet “Die With A Smile,” which could break into the Top 5 for the first time at No. 5.
Fresh entries also shake things up this week, as The Weeknd’s euphoric new track “Dancing In The Flames” is poised to debut at No. 9, making it the highest new entry of the week.
Tate McRae is also gaining ground with her pop hit “It’s Ok, I’m Ok,” expected to debut just outside the Top 10 at No. 11, while Playboi Carti’s “All Red” is eyeing a No. 13 debut, potentially marking his first solo Top 20 entry in the U.K.
Elsewhere, U.S. soul singer Teddy Swims is set for another chart success with his single “Bad Dreams,” aiming for No. 15, which would be his third Top 20 hit in the U.K.
Meanwhile, Charli XCX looks to make a comeback with a remix of her track “Talk Talk” featuring Troye Sivan, which could re-enter the chart at No. 20.
With only a few days until the official rankings, it looks like Sabrina Carpenter’s latest single still holds its flavor and will likely continue to reign supreme when the U.K. Singles Chart is updated on Friday (Sept. 20).
Snow Patrol are making a strong comeback, as their latest album, The Forest Is The Path, is on track to secure the U.K. No. 1 spot, according to the U.K Official Charts midweek blast.
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If the album holds its lead, it would mark the band’s third U.K. No. 1 overall and their first since 2006. Their previous chart-topping albums in the U.K. include Eyes Open (2006) and Final Straw (2003).
The Forest Is The Path is the first album from Snow Patrol – which consists of Gary Lightbody, Johnny McDaid and Nathan Connolly – since their 2018 release Wildness, which peaked at No. 2 on the U.K. Official Albums Chart. This comeback record, their eighth studio album, signals a return to the top after nearly two decades.
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Close behind in the race for No. 1 in the latest chart blast is London Grammar’s The Greatest Love, currently holding at No. 2. The album is poised to become the trio’s fourth Top 10 U.K. album, with two previous No. 1s, Truth is a Beautiful Thing (2017) and Californian Soil (2021).
Meanwhile, Eminem’s The Death of Slim Shady (Coup De Grâce) is making a significant rebound, moving up to No. 3 in the midweek chart following its Expanded Mourner’s Edition release. The record, which spent three weeks at No. 1 earlier this summer, is heading for its sixth week inside the Top 10.
Welsh rock band Catfish and the Bottlemen are celebrating 10 years of their debut album The Balcony, and its anniversary reissue is set to push the record to its highest-ever peak of No. 9, potentially surpassing its original 2014 peak of No. 10.
Finally, Nilüfer Yanya’s My Method Actor is on track to become her first-ever Top 40 album, currently sitting at No. 17, marking a major breakout moment for the London-based indie-rock artist.
With a few days left until the final U.K. Official Albums Chart results are revealed on Friday, all eyes are on Snow Patrol as they eye off the top spot for the first time in 18 years.
Addison Rae is officially a Billboard Hot 100-charting artist, thanks to her single “Diet Pepsi.” Released Aug. 9 on ARXOXO/Columbia Records, the song debuts at No. 86 on the Sept. 21-dated Hot 100, becoming her first career entry on the chart. It arrives with 5 million official U.S. streams (up 9%) and 487,000 all-format radio […]
Lady Gaga and Bruno Mars’ “Die With a Smile” secures a third week at No. 1 on both the Billboard Global 200 and Billboard Global Excl. U.S. charts. Three weeks earlier, the duet debuted at the runner-up rank on each survey.
Linkin Park lands the highest debut on both the Global 200 and Global Excl. U.S., as the band’s comeback single, “The Emptiness Machine,” launches at No. 2 on the latter and No. 3 on the former.
Plus, Sabrina Carpenter claims three songs in the top 10 of both the Global 200 and Global Excl. U.S. for a third week, all from her new album, Short n’ Sweet, which notches a third week at No. 1 on the U.S.-based Billboard 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.
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“Die With a Smile” leads the Global 200 with 111.4 million streams (up 5% week-over-week) and 9,000 sold (down 10%) worldwide Sept. 6-12. The ballad, released Aug. 16, is Lady Gaga and Bruno Mars’ first No. 1 each since the chart began.
Billie Eilish’s “Birds of a Feather” rises 3-2 on the Global 200, following three weeks at No. 1 beginning in August.
Linkin Park’s “The Emptiness Machine” soars onto the Global 200 at No. 3, marking the band’s first top 10 since the chart began, with 74 million streams and 19,000 sold worldwide Sept. 6-12, its first full tracking week; it premiered at 6 p.m. ET on Sept. 5. The song is the lead single from From Zero, Linkin Park’s eighth studio album, due Nov. 15. It’s the group’s first LP of all new music since the death of co-frontman Chester Bennington in 2017 and its first with vocalist Emily Armstrong.
Notably, as “The Emptiness Machine” concurrently blasts to No. 1 on the U.S.-based Hot Hard Rock Songs chart, it’s the first leader on the list also to have hit the Global 200’s top three.
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Sabrina Carpenter claims three songs in the Global 200’s top 10 for a third week: “Taste” slips to No. 4 from its No. 2 high; “Espresso” drops 4-5, following three nonconsecutive weeks at No. 1 beginning in June; and “Please Please Please” descends 5-6, after two weeks at No. 1 also starting in June. She’s the first artist to triple up in the top 10 over three weeks in 2024, besting Eilish and Taylor Swift, each with two such weeks this year.
“Die With a Smile” tops Global Excl. U.S. with 86.1 million streams (up 9%) and 5,000 sold (up 1%) outside the U.S. Sept. 6-12. As on the Global 200, it became Lady Gaga and Bruno Mars’ first No. 1 each since the survey started.
Linkin Park’s “The Emptiness Machine” bounds onto Global Excl. U.S. at No. 2, becoming the band’s first top 10, with 60.8 million streams and 11,000 sold outside the U.S. Sept. 6-12.
Eilish’s “Birds of a Feather” slides 2-3 after three weeks atop Global Excl. U.S. beginning in August; Carpenter’s “Espresso” drops 3-4, following eight nonconsecutive weeks at No. 1 beginning in May; and Karol G’s “Si Antes Te Hubiera Conocido” holds at No. 5, after reaching No. 2.
Plus, Carpenter’s “Taste” falls to No. 6 on Global Excl. U.S. from its No. 4 best and “Please Please Please” backtracks 6-7, following a week at No. 1 in June. Already the only artist with multiple weeks with three songs in the top 10 simultaneously this year, she adds a third week achieving the feat.
The Billboard Global 200 and Billboard Global Excl. U.S. charts (dated Sept. 21, 2024) will update on Billboard.com tomorrow, Sept. 17. 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.
Post Malone’s “I Had Some Help,” featuring Morgan Wallen, holds at No. 2 on the Hot 100, following six weeks at No. 1 beginning upon its debut in May.
Sabrina Carpenter charts three songs in the Hot 100’s top 10, all from her new album, Short n’ Sweet, for a third consecutive week: “Espresso” keeps at its No. 3 high; “Taste” backtracks 5-6 after it debuted at No. 2 two weeks earlier; and “Please Please Please,” which led for a week in June, falls 4-8. Carpenter is the first artist this year to log three weeks with three simultaneous top 10s, surpassing Taylor Swift with two such frames.
“Taste” also tallies a third total and consecutive week at No. 1 on Streaming Songs (27 million, down 14%). (While the song’s sum of raw streams is the week’s second-highest, below that of “A Bar Song (Tipsy),” “Taste” tops Streaming Songs due to the application of weighting to all titles’ paid/subscription and ad-supported on-demand streams and programmed/radio streams.)
Lady Gaga and Bruno Mars’ “Die With a Smile” jumps 6-4 on the Hot 100, three weeks after it debuted at its No. 3 best.
Billie Eilish’s “Birds of a Feather” wings 7-5 on the Hot 100, returning to its highest perch. It leads the multimetric Hot Rock & Alternative Songs and Hot Alternative Songs charts for a sixth week each.
Chappell Roan’s “Good Luck, Babe!” lifts 8-7 on the Hot 100, after hitting No. 6, and Teddy Swims’ “Lose Control,” which led the Hot 100 for a week in March, repeats at No. 9. The latter also now solely sports the eighth-most weeks spent in the top 10 over the chart’s history:
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
39, “Circles,” Post Malone, 2019-20
38, “As It Was,” Harry Styles, 2022-23
37, “Heat Waves,” Glass Animals, 2021-22
35, “Lose Control,” Teddy Swims, 2024
34, “Cruel Summer,” Taylor Swift, 2023-24
33, “Sunflower (Spider-Man: Into the Spider-Verse),” Post Malone & Swae Lee, 2018-19
33, “Girls Like You,” Maroon 5 feat. Cardi B, 2018-19
33, “Shape of You,” Ed Sheeran, 2017
Rounding out the Hot 100’s top 10, Kendrick Lamar’s “Not Like Us” is steady at No. 10, following two weeks at No. 1 in May and July, as it dominates the multimetric Hot Rap Songs chart for an 18th week and Hot R&B/Hip-Hop Songs for a 16th week.
David Gilmour is back at the top of the U.K. Official Albums Chart, celebrating his third solo No. 1 album with Luck and Strange.
The Pink Floyd guitarist’s latest release marks his ninth overall chart-topping record when combined with his work as a solo artist and a member of the iconic band. Luck and Strange, Gilmour’s fifth studio album, joins the ranks of his previous solo No. 1 albums, On An Island (2006) and Rattle That Lock (2015).
The new collection also tops the U.K. Official Vinyl Albums Chart, solidifying its popularity among vinyl collectors and audiophiles alike.
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In a statement to Official Charts, Gilmour expressed his gratitude to fans: “I’d like to thank everyone who’s bought my new album, Luck And Strange, and helped to make it Number 1 in the Official Albums Chart.”
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This latest achievement adds to Gilmour’s illustrious career, which includes six U.K. No. 1 albums with Pink Floyd, such as Wish You Were Here (1975) and The Division Bell (1994).
However, according to the rocker’s press release, his latest project Luck and Strange, is “the best album I’ve made since Dark Side of the Moon, since 1973.”
“The album feels like a solid body of cohesive work,” Gilmour previously told Billboard of the new album. “It’s the cohesiveness of the whole thing — the writing, the work, the thrill it still gives me to listen to it all the way through as an album. There’s a consistency of thought and of feeling that runs through it that excites me in a way that makes me make those comparisons.”
Also making moves this week, once again, is Sabrina Carpenter’s Short n’ Sweet, which holds strong at No. 2 after three weeks in the Top 5.
Meanwhile, Oasis continues to dominate the chart, with Time Flies… (No. 3), Definitely Maybe (No. 4), and What’s The Story (No. 5) all securing Top 5 positions.
Other notable entries on the tally, published Friday, Sept. 13, include Link Park’s 2024 hits collection Papercuts, which rebounds to No. 8 following the announcement of their new vocalist, Emily Armstrong, while Fred Again…’s ten days comes in at No. 7, marking his second Top 10 album.
Further down the chart, Rex Orange County earns his third Top 40 LP with The Alexander Technique, debuting at No. 15, following previous successes with Pony (No. 5 in 2019) and WHO CARES? (No. 1 in 2022).
South London group Fat Dog makes their Official Albums Chart debut with WOOF., landing at No. 16 and topping the Official Record Store Chart.
Meanwhile, Ensoulment, the first new album in 25 years from The The, enters at No. 19, marking their sixth Top 40 record. Ultravox’s 1984 album Lament returns at No. 35 after a 40th-anniversary edition, and Leeds four-piece English Teacher re-enters at No. 40 with This Could Be Texas, following their 2024 Mercury Prize win.