Chart Beat
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Chase Matthew reaches the top 10 of Billboard’s Country Airplay chart as his rookie single, “Love You Again,” rises a spot to No. 10 on the Aug. 10-dated survey. During the July 26-Aug. 1 tracking week, the track increased by 3% to 16.3 million audience impressions, according to Luminate. Explore Explore See latest videos, charts […]
Pearl Jam notches its first No. 1 on Billboard’s Adult Alternative Airplay chart in over 10 years as “Wreckage” rises to the top of the Aug. 10-dated survey.
“Wreckage,” Pearl Jam’s third leader on the list, follows “Sirens,” which ruled for three weeks in November-December 2013. The band first led with “Just Breathe” for 13 weeks in 2010.
The group’s 10-year, eight-month break between No. 1s is the longest on Adult Alternative Airplay since John Mayer went 11 years and eight months between the reigns of “Who Says” in 2009 and “Last Train Home” in 2021.
In between “Sirens” and “Wreckage,” Pearl Jam charted four Adult Alternative Airplay entries, paced by the No. 2-peaking “Dance of the Clairvoyants” in 2020.
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“Wreckage” is the second single from Dark Matter, Pearl Jam’s 12th studio album. The title track hit No. 19 in March.
Concurrently, “Wreckage” ranks at No. 6, after reaching No. 2 in June, on Rock & Alternative Airplay, with 3.4 million audience impressions in the week ending Aug. 1, according to Luminate. It ruled Mainstream Rock Airplay for one week in July, having become the band’s fifth No. 1, and rose to No. 3 on Alternative Airplay.
By leading both Adult Alternative Airplay and Mainstream Rock Airplay, “Wreckage” becomes the first song to hit No. 1 on the lists, which span the sonic extremes of rock radio, since The Black Keys’ “Lo/Hi” in 2019.
On the most recently published multimetric Hot Hard Rock Songs chart (dated Aug. 3, reflecting data July 19-25), “Wreckage” placed at No. 6, following a week at No. 1 in May. In addition to its radio airplay, it drew 265,000 official U.S. streams.
Dark Matter debuted at No. 1 on the Top Rock & Alternative Albums chart dated May 4 and has earned 107,000 equivalent album units to date.
All charts dated Aug. 10 will update on Billboard.com on Tuesday, Aug. 6.
It’s a sweet moment for Lime Cordiale, as the Australian indie-rock outfit debuts at No. 1 on the ARIA Chart with Enough Of The Sweet Talk (via Chugg Music/MGM).
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It’s the second leader for Lime Cordiale, following their second and most recent studio album, 14 Steps To A Better You from 2020. Earlier releases include debut Permanent Vacation and the Cordi Elba EP, their collaboration with British actor and DJ Idris Elba.
Signed to legendary concert promoter Michael Chugg’s label Chugg Music, Lime Cordiale nabs a slice of chart history — and breaks a long drought for homegrown artists.
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Enough Of The Sweet Talk is the first Australian No. 1 this year on the ARIA Albums Chart, and it’s the first ever recipient of the Australian #1 Album Award, which are handed out from this week to the best-selling homegrown singles and albums, an accolade that salutes “outstanding examples of local success week-in, week-out,” says ARIA CEO Annabelle Herd.
The last Australian album to lead the national chart was Troye Sivan’s Something to Give Each Other from October 2023.
Also new to the albums chart top 10 is Empire Of The Sun with Ask That God (EMI), debuting at No. 10. It’s the electronic-pop act’s fourth album and fourth appearance in the top 10 after Walking On A Dream (No. 6 in 2008), Ice On The Dune (No. 3 in 2013) and Two Vines (No. 7 in 2016). Comprised of Luke Steele and Nick Littlemore, Empire of the Sun has collected eight ARIA Awards.
Meanwhile, Ghost scores a top 20 debut with Rite Here Rite Now (Concord/Universal), the companion to the Swedish rock band’s concert film of the same name. It’s new at No. 12.
Over on the ARIA Singles Chart, published Friday, Aug. 2, Shaboozey logs another week at No. 1 with “A Bar Song (Tipsy) (via Empire).
The highest new entry on the latest tally belongs to Post Malone and Luke Combs with their country tag-team “Guy For That” (Universal), new at No. 18. “Guy For That” is the third track lifted from Posty’s upcoming album F-1 Trillion, due out Aug. 16. The lead track from it, “I Had Some Help” with Morgan Wallen, logged one week at No. 1 in May, and currently lifts 4-3, one place behind Billie Eilish’s “Birds Of A Feather” (Interscope/Universal), holding at No. 2.
The inaugural Australian #1 Single Award goes to The Kid LAROI’s “Girls” (Columbia/Sony), which dips 18-25 on the all-genres ARIA Singles Chart.
Becky G and Oscar Maydon’s “Mercedes” accelerates to No. 1 on Billboard’s Regional Mexican Airplay chart (dated Aug. 3). The track marks Becky G’s second leader on the survey and Maydon’s his first on any U.S.-based tally. Explore Explore See latest videos, charts and news See latest videos, charts and news “Mercedes,” released April 11 […]
Clairo’s “Juna” leaps to No. 1 on the TikTok Billboard Top 50 chart in its second week on the survey, becoming Clairo’s first ruler via the Aug. 3-dated tally.
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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 July 22-28. Activity on TikTok is not included in Billboard charts except for the TikTok Billboard Top 50.
“Juna” was released July 12 alongside the premiere of Clairo’s third album Charm, earning significant gains since then thanks to its TikTok virality.
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The dominant trends using the song feature responses to the prompts “you make me wanna” or “you know me,” both building off portions of the tune’s lyrics.
“Juna” scores a 70% jump in official U.S. streams in the week ending July 25 to 3.4 million listens, according to Luminate. As a result, it debuts at No. 27 on Billboard’s Hot Rock & Alternative Songs survey dated Aug. 3.
The song reigns on the TikTok Billboard Top 50 over Blood Orange’s “Champagne Coast,” which falls to No. 2 after ruling for a week. Another former leader, 10-week No. 1 Tommy Richman’s “Million Dollar Baby,” drops 2-3, the song’s first time below No. 2 since its debut in May.
One other song joins “Juna” in the top five for the first time: Charli XCX’s “Apple,” which vaults 10-4 in its third week on the chart. Featured on the singer’s album Brat, it has leapt up multiple charts in recent weeks via a TikTok dance trend, one that concurrently helps it to a new peak of No. 4 on Hot Dance/Electronic Songs (5.9 million streams, up 40%).
A more recent viral upload using “Apple” and its dance came from Kerry Washington, whose video featuring the caption “If Kamala is BRAT, I’m BRAT,” referencing U.S. Vice President Kamala Harris’ hopeful presidential candidacy and its adoption of the Brat motif. To date, the clip boasts 4 million views.
Further down the TikTok Billboard Top 50, the top debut of the week comes from Croquet Club, whose “Summer” starts at No. 23. “Summer” was released in 2016 and has enjoyed a boost in profile with usages in recent sports content on TikTok, including footage from the 2024 Summer Olympics.
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.
Submit questions about Billboard charts, as well as general music musings, to askbb@billboard.com. Please include your first and last name, as well as your city, state and country, if outside the United States. Or, message @gthot20.
Let’s open the latest mailbag.
Hi Gary,
With Jimin debuting at No. 14 on the Billboard Hot 100 (dated Aug. 3) with “Who,” I immediately thought of two “who”-titled hits that have peaked at that position: “Who Are You” by none other than The Who and “Who Is It” by Michael Jackson.
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I didn’t know at the time of its release that The Who’s mesmerizing hit didn’t make the Hot 100’s top 10, but the recording always caught my attention, both for its musicality and the cursing that was allowed. For Jackson, his Dangerous album, from which “Who Is It” was released as a single, followed Bad and Thriller. The sets produced four, six and seven top 10s, respectively, with each generating seven top 40 hits.
I figured I’d ask Billboard – who else? – for a list of other charted songs starting with “who.”
(Should we count anything by Owl City?)
Pablo Nelson, that’s whoOakland, Calif.
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Hi Pablo,
This “Ask Billboard” answers the question of who’s had all the biggest Hot 100 hits whose titles start with “who,” with Jimin’s “Who” joining 50 others that have reached the top 40. Conversely, it does the opposite of what any good mailbag should do, as it’ll leave all of the titles unanswered. There’s simply no field in Billboard’s computerized chart archives to search for who let the dogs out, who that girl is, who it can be now, who is in the strawberry patch with Sally or who your daddy is. (There are other ways to find out that last one, if needed.)
Below is a look at all the top 40-peaking Hot 100 entries whose titles begin with “who,” making for a true who’s who of “who” hits, including one by, as noted, The Who (although not any by The Guess Who).
Upon its debut, Jimin’s “Who” is in the company of numerous memorable similarly titled hits.
Top 40-Peaking Hot 100 Hits Whose Titles Begin With ‘Who’
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No. 1, 1987, “Who’s That Girl,” MadonnaThe title cut to the Madonna-starring film became the sixth of her 12 career Hot 100 No. 1s.
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No. 1, 1982, “Who Can It Be Now?,” Men at WorkThe only other Hot 100 leader whose title starts with “who” introduced Men at Work, which landed its second No. 1 with follow-up and fellow ‘80s classic “Down Under.” “It doesn’t really happen, to hardly anybody,” Colin Hay, who fronted the band, told Billboard in 2023 of its breakthrough. “It was massive. Having said that, we were always very ambitious.”
No. 3, 1986, “Who’s Johnny,” El DeBargeNo. 3, 1975, “Who Loves You,” The 4 Seasons
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No. 4, 1981, “Who’s Crying Now,” JourneyThe song ranks as Journey’s second-highest-charting Hot 100 hit, outpaced only by “Open Arms,” which peaked at No. 2 for six weeks in 1982.
No. 5, 1999, “Who Dat,” JT Money feat. SoleNo. 5, 1968, “Who’s Making Love,” Johnnie TaylorNo. 6, 1985, “Who’s Holding Donna Now,” DebargeNo. 7, 1987, “Who Will You Run To,” Heart
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No. 7, 1985, “Who’s Zoomin’ Who,” Aretha FranklinThe Queen of Soul added her 16th Hot 100 top 10 with the track. She earned one more, and her second No. 1 – after “Respect,” in 1967 – with “I Knew You Were Waiting (For Me),” with George Michael, in 1987.
No. 7, 1961, “Who Put the Bomp (In the Bomp, Bomp, Bomp),” Barry MannNo. 8, 1995, “Who Can I Run To,” Xscape
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No. 9, 2024, “Who’s Afraid of Little Old Me?,” Taylor SwiftWho has the most Hot 100 top 10s in a single week, and from a single album? Swift swept the region thanks to her 2022 LP Midnights and repeated the feat this May via The Tortured Poets Department.
No. 9, 2007, “Who Knew,” P!nkNo. 11, 1996, “Who Will Save Your Soul,” Jewel
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No. 14, 2024, “Who,” JiminThe song starts with 14.7 million official U.S. streams and 70,000 sold in its first week. Its proper promotion to pop radio is set to begin the week of Aug. 12.
No. 14, 1993, “Who Is It,” Michael JacksonNo. 14, 1978, “Who Are You,” The WhoNo. 15, 1989, “Who Do You Give Your Love To?,” Michael MoralesNo. 15, 1974, “Who Do You Think You Are,” Bo Donaldson and the HeywoodsNo. 16, 1987, “Who Found Who,” Jellybean feat. Elisa Fiorillo
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No. 16, 1984, “Who Wears These Shoes?,” Elton JohnJohn’s two earlier 1984 hits – “I Guess That’s Why They Call It the Blues” and “Sad Songs (Say So Much),” which rose to Nos. 4 and 5, respectively, on the Hot 100 – are likely better known, but this track gave him a third top 20 entry that year, the first in which he logged such a triple since 1976.
No. 17, 2021, “Who Want Smoke??,” Nardo Wick feat. G Herbo, Lil Durk & 21 SavageNo. 17, 2009, “Who Says,” John MayerNo. 17, 1996, “Who Do U Love,” Deborah CoxNo. 18, 1976, “Who’d She Coo?,” Ohio PlayersNo. 19, 1968, “Who Will Answer?,” Ed Ames
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No. 21, 2011, “Who Says,” Selena Gomez & The SceneWith her ninth charted song, Gomez scored her highest Hot 100 peak to that point. She has since collected nine top 10s, including the 2019 No. 1 “Lose You To Love Me.”
No. 21, 1984, “Who’s That Girl,” EurythmicsNo. 21, 1966, “Who Am I,” Petula ClarkNo. 22, 2002, “Who’s Your Daddy?,” Toby KeithNo. 22, 1977, “Whodunit,” Tavares
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No. 23, 2006, “Who Says You Can’t Go Home,” Bon JoviThe single, boosted by Jennifer Nettles’ guest turn, also brought Bon Jovi to No. 1 for two weeks on the Hot Country Songs chart.
No. 25, 1964, “Who Do You Love,” The SapphiresNo. 27, 1973, “Who’s in the Strawberry Patch With Sally,” Tony Orlando & DawnNo. 28, 2001, “Who I Am,” Jessica AndrewsNo. 29, 2011, “Who Dat Girl,” Flo Rida feat. AkonNo. 29, 1980, “Who’ll Be the Fool Tonight,” Larsen-Feiten BandNo. 30, 2003, “Who Wouldn’t Wanna Be Me,” Keith UrbanNo. 31, 1996, “Who You Are,” Pearl JamNo. 33, 1968, “Who Is Gonna Love Me?,” Dionne Warwick
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No. 33, 1964, “Who Can I Turn To (When Nobody Needs Me),” Tony BennettBennett charted six top 40 Hot 100 hits from the survey’s start in 1958 through 1965. In 2011, he returned with the No. 87-peaking “Body and Soul,” with Amy Winehouse.
No. 34, 1965, “Who’ll Be the Next in Line,” The KinksNo. 35, 1992, “Who’s Gonna Ride Your Wild Horses,” U2No. 37, 2005, “Who You’d Be Today,” Kenny ChesneyNo. 39, 1981, “Who’s Making Love,” Blues Brothers
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No. 40, 2000, “Who Let the Dogs Out,” Baha MenEnduring more impressively than its peak would suggest, the song has drawn 288 million on-demand U.S. streams to date, according to (who, who, who, who, who?) data tracker Luminate.
No. 40, 1998, “Who Am I,” Beenie ManNo. 40, 1981, “Who Do You Think You’re Foolin’,” Donna SummerNo. 40, 1975, “Who’s Sorry Now,” Marie OsmondNo. 40, 1975, “Who’s Your Baby?,” The Archies
This fall, Charli XCX & Troye Sivan Present: Sweat will bring the British and Australian pop stars to arenas across the U.S. and Canada. It’s the first time that either of them will headline North American arenas, but following their respective recent releases and subsequent solo shows – let alone the growing force behind the fall shows’ sales – they need not sweat it.
The tour, which kicks off Sept. 14 in Detroit and went on sale in April, has already sold out more than 90% of its tickets, according to Brian Greenbaum, Sivan’s agent at CAA.
Greenbaum says the tour dates in Boston, Chicago, New York and San Francisco sold out immediately, while high demand pushed a second show in Los Angeles. He notes that tickets across the tour were 67% sold after the first weekend of availability, and 70% by the end of May.
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The Sweat announcement and on-sale were planted after Sivan’s latest album cycle (for the October 2023 release of Something to Give Each Other) had mainly run its course, but before Charli’s Brat rollout kicked into high gear (June 7 release date). That off-cycle and on-cycle rollout was by design, giving ample time to sell arena tickets by artists who were not historically arena acts.
But even with strong opening sales, the team behind Sweat knew they’d get “a second bite at the apple,” said Greenbaum. Since the on-sale, Sivan made his arena debut abroad, and Charli executed an entire album campaign. Rather than the typical drop-off, momentum has carried Sweat through the (Brat) summer, with Greenbaum noting that North American sales rose to 80% by mid-June and beyond 90% by the end of July.
Sivan’s third studio LP, Something to Give Each Other, earned him his first two Grammy nominations and became his first album to land multiple songs on the Billboard Hot 100.
That success set up the European leg of the Something to Give Each Other Tour, leveling him up to arenas in Europe on his own before coming Stateside with Charli. According to figures reported to Billboard Boxscore, he played 15 shows across the continent in May and June, grossing $5.7 million from 108,000 tickets sold, averaging $379,000 and 7,227 tickets per show.
Those figures mark a 225% increase over Sivan’s last European jaunt. In Amsterdam, he went from selling 6,000 tickets at AFAS Live on The Bloom Tour in 2019, to 13,500 at the Ziggo Dome in June. In Berlin, he leapt from 3,333 tickets at Tempodrom to 8,884 tickets at Velodrom. In London, his audience ballooned from 5,133 tickets at Eventim Apollo to 11,254 at OVO Arena Wembley.
In the eight European markets where Sivan returned, attendance grew by no less than double, and earnings multiplied by at least three. Assuming similar growth in the U.S., where he played more shows and commanded bigger grosses on The Bloom Tour, he is well set up for arenas in North America, especially teamed up with a similarly buzzy pop star.
In June, Charli XCX played a string of club and festival dates in North and South America. In contrast to Sivan’s international arena tour, she chose to tease their fall tour with underplays that lived in the more intimate, visceral world of Brat. Her handful of headline shows sold out, ranging from 850 tickets in Sao Paulo to 5,000 in Los Angeles.
The numbers on Charli’s live shows were intentionally smaller than Sivan’s, but the energy and word-of-mouth around them matched the intensity of the album. Not only did it debut to career-peak commercial returns (No. 3 on the Billboard 200) and universal acclaim, it has penetrated the cultural consciousness. Amid a string of music videos, remixes and viral dance challenges, Brat has infiltrated the 2024 U.S. election cycle via a swirl of memes and momentum behind Democratic presidential hopeful Kamala Harris (“kamala IS brat,” Charli virally tweeted last month).
It’s perfect timing, then, for Sivan and Charli to join forces on Sweat. In her own words, in Billboard’s July cover story, it finally made sense due to the dance-leaning nature of both of their albums – the first No. 1 for each of them on Top Dance/Electronic Albums. They’ve built toward arena status over their decade-plus careers, each building cult-pop success from one album to another.
Beginning her career with a smattering of hits with Iggy Azalea and Icona Pop and songwriting credits alongside Selena Gomez and Shawn Mendes, Charli continued to accrue acclaim for her solo projects, growing her base from 965 tickets per show on 2014’s Girl Power North America Tour, to 1,439 on 2019’s Charli Live Tour, and then to almost 4,000 tickets on 2022’s Crash the Live Tour. Sivan’s recent European leg grew his base two-to-one, while The Bloom Tour expanded his reach worldwide, with more than 60 shows on five continents.
With more than a month left before Sweat begins, sales are expected to creep closer toward a continental sell-out. Just this week, Brat track “360” jumped from No. 78 to No. 55 on the Hot 100, while “Apple” debuted, becoming the album’s third track to chart. A new remix looms, hinting at more gas in the tank in the remaining weeks before opening night.
Both Sivan and Charli will tour on their own again after Sweat wraps, with each artist playing hometown shows in Oceania and the U.K., respectively. By the end of the year, their combined ticket sales could approach 500,000 in 2024.
Ivan Cornejo achieves his first No. 1 on Billboard’s Top Latin Albums chart with Mirada, his third studio album, which debuts atop the Aug. 3-dated ranking. The 12-track effort follows two other top 10 albums for Cornejo, both within a year, between 2021-22.
Mirada starts at the summit on Top Latin Albums with 34,000 equivalent album units earned in the U.S. during the July 19-25 tracking week, according to Luminate. The set was released July 19, the first day of the tracking period, on Zaragoza/Insterscope/ICLG.
Of Mirada’s 34,000 units in its coronation week, 25,000 of those derive from streaming activity, which represent 35 million official on-demand U.S. streams of the album’s songs. Album sales comprise 9,000, while the remainder negligible amount stem from track sales. On Top Latin Albums, one unit equals one album sale, 10 individual tracks sold from an album, or 3,750 ad-supported or 1,250 paid/subscription on-demand official audio and video streams for a song on the album.
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Third Regional Mexican Act to Debut at No. 1 on Top Latin Albums in the 2020s: 20-year-old Cornejo joins an elite group of regional Mexican acts whose projects launched at the summit on Top Latin Albums in the 20s decade. Alejandro Fernández’s Hecho En México debuted at No. 1 in Feb. 2020, while Eslabon Armado enlisted two No. 1 debuts, through Vibras de Noche and Desvelado in Aug. 2020 and May 2023, respectively.
Further, Cornejo captures his third top 10 on Top Latin Albums with a third appearance. The singer-songwriter visited the chart with the No. 7-peaking set Alma Vacía (Oct. 2021) and Dañado which peaked at No. 2 (Dec. 2022) and earned him a first Billboard Latin Music Award for regional Mexican album of the year in 2023.
Largest Debut Sales Week for a Regional Mexican Album Since 2020: Adding to Cornejo’s triumphs this week, the Riverside, Calif.-born artist likewise scores the largest debut sales week for a regional Mexican album since 2020, with 9,000 sold. The last regional Mexican album to start with a bigger sales figure was Fernández’s Hecho En México, which debuted at No. 1 on the Feb. 29, 2020-dated Top Latin Albums chart with 10,000 sold. Mirada‘s first-week sales were supported by a signed CD exclusive to his webstore, and a standard CD.
Second Regional Mexican Album to Debut in The Top 10 on Top Album Sales: Mirada is just the second regional Mexican album to debut within the top 10 on the all-genre Top Album Sales chart, which began in 1991. In total, 33 Latin albums have opened in the top 10. The only other regional Mexican album to debut in the top 10 was Fernández’s Hecho En México, with a No. 8 debut in 2020.
11 cuts from Mirada have landed on the multi-metric Hot Latin Songs chart, led by “Baby Please,” which bowed and reached a No. 8 high last March. Here’s a look at the album tracks on Hot Latin Songs, including two already ranked songs, a reentry, plus seven debuts on the current survey:
No. 7, “Intercambio Injusto”No. 9, “Sale Para Ser Feliz”No. 14, “Mirada”No. 19, “Baby Please”No. 21, “Herida Abierta”No. 23, “Vuelve”No. 27, “Donde Estás”No. 29, “Atención”No. 31, “Aquí Te Espero”No. 41, “Interlude”
Adding to Mirada’s breakthrough week, Cornejo reaches the top 20 for the first time on the overall Billboard 200, as the new album debuts at No. 17. He previously peaked at No. 28 with his last album, Dañado, in 2022. Plus, Mirada also debuts at No. 1 on Regional Mexican Albums, for Cornejo’s second No. 1 there.
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.
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This week: Big movie soundtracks are back, as the classic hits-laden Deadpool and Wolverine and the modern country All-Stars-colleting Twisters both generate huge gains for their featured synchs upon their release, while a pair of very different artists get bumps from their memorable Olympics appearances and much more.
Deadpool & Wolverine & *NSYNC: Marvel Smash Boosts ‘Bye Bye Bye’ & More
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Last weekend at the box office, Deadpool and Wolverine tag-teamed to shatter records: the Marvel superhero crossover starring Ryan Reynolds and Hugh Jackman grossed a staggering $205 million domestically in its opening weekend, earning the top debut of 2024 so far, and the biggest bow ever for an R-rated movie. Naturally, the success of a film full of popular music cues — the Deadpool & Wolverine soundtrack includes smashes from Fergie, Goo Goo Dolls, Huey Lewis and the News and Avril Lavigne, among others — has resulted in several of those songs experiencing hefty streaming bumps… with Justin, JC, Joey, Lance and Chris leading the way.
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The beginning of Deadpool & Wolverine features Deadpool performing *NSYNC’s classic “Bye Bye Bye” choreography while the No Strings Attached single soundtracks an opening-credits action scene, a sequence that has already been deconstructed and meme’d across TikTok ad nauseum. As a result, “Bye Bye Bye” is booming on streaming platforms — the track sits at a new high of No. 32 on today’s Spotify daily top 50 U.S. chart, ahead of more recent smashes like Eminem’s “Houdini” and Taylor Swift & Post Malone’s “Fortnight” — and scored 3.35 million official on-demand U.S. streams from July 26-29, according to Luminate, up 382% from that streaming total during the same period the previous week (695,000 from July 19-22). “Bye Bye Bye” peaked at No. 4 on the Billboard Hot 100 in 2000, and while the boy band classic probably won’t climb that high again, *NSYNC could actually threaten a return to the Hot 100 if these streaming numbers continue to grow in the coming days and weeks.
While “Bye Bye Bye” may be getting the biggest boost from Deadpool & Wolverine, just about every song on the soundtrack – from Eric Carmen’s ‘80s pop gem “Make Me Lose Control” to the Platters’ doo-wop standard “Only You” – sees major gains this week. In particular, a pair of late-20th-century pop perennials see major gains after being featured in the blockbuster: Madonna’s “Like a Prayer” was up 229% in streams from the weekend prior to the film opening (506,000 streams from July 19-22) to its opening weekend (1.66 million streams from July 26-29), while over that same tracking period, Green Day’s “Good Riddance (Time of Your Life)” was up 88% in streams, from 708,000 streams to 1.33 million streams. – JASON LIPSHUTZ
New Songs by Country Hitmakers Swept Up by Twisters Soundtrack
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Before Deadpool and Wolverine stormed the box office, the biggest story in the film world this July was the breakaway success of Twisters, spiritual sequel to the 1996 tornado-chasers action-drama blockbuster Twister. While the soundtrack to the Oklahoma-set original film featured a mix of alternative and stadium rock, with just a smattering of country, the new installment – also taking place in the Sooner State – leans all the way in on the latter genre, with a 29-track accompanying album featuring big names from all corners of the country world.
While many of the tracks had been rolled out prior to the official release of the movie and its soundtrack two Fridays ago (July 19), all of those previously available songs saw huge bumps in the tracking week that followed. Miranda Lambert’s “Ain’t in Kansas Anymore” was up 112% in official on-demand audio streams (to 2.3 million) and up 268% in sales (to 1,700) from the prior week, according to Luminate, while Lainey Wilson’s “Out of Oklahoma” grew 182% in streams (2.9 million) and 750% in sales (3,100). And Luke Combs’ “Ain’t No Love in Oklahoma,” already an established top 40 hit, jumps to a new peak on the Hot 100 this week (32-13), thanks to gains of 75% gain in streams (15.2 million) and 178% in sales (7,400).
All the streaming success helped Twisters: The Album score an impressive No. 7 debut on the Billboard 200 albums chart this week – making it the first soundtrack album to reach the chart’s top 10 since last summer’s Barbie: The Album, and the first country soundtrack to do so since Country Strong in 2011. – ANDREW UNTERBERGER
Olympics Opening Ceremony: Gojira, Céline Dion Streaming Catalogs Go for the Gold
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The opening ceremony of the 2024 Summer Olympics — the first commencement extravaganza held outside of a stadium in modern Olympics history, as athletes from around the world paraded by boat along the Seine in Paris on Friday night (July 26) — also included some unexpected musical showcases, from Lady Gaga’s take on “Mon truc en plumes” to Drag Race France stars dominating a fashion runway.
Two of those performances, at very opposite ends of the musical spectrum, were still making waves on streaming platforms in the U.S. days after the opening ceremony: French head-bangers Gojira, which became the first metal act to perform at an Olympics ceremony, and pop legend Céline Dion, in her first performance since 2022 due to her struggle with stiff person syndrome.
Gojira’s surprising spot on the world stage naturally led viewers to peruse the long-running group’s back catalog: the band’s discography earned 3.12 million U.S. on-demand streams from July 26-29, according to Luminate, which represented a whopping 283% increase from the same four-day period the previous week (814,000 streams from July 19-22). And while Dion’s streaming catalog was starting at a much higher level of listens prior to the Olympics, her emotional return to the stage also sparked a major increase in plays, from 4.13 million streams from July 19-22 to 5.91 million streams from July 26-29 — a 43% gain. – JL
Virality of Royel Otis Cover (And Cranberries Original) Continues to “Linger” Thanks to… Uh, Well Just Read On
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Australian pop-rock duo Royel Otis is rapidly becoming the internet’s favorite covers band. After their rendition of Sophie Ellis-Bextor’s Saltburn-revived U.K. pop hit “Murder on the Dancefloor” brought them a surprise top five hit on the Rock & Alternative Airplay chart, they caught fire this summer with a new take on the Cranberries’ enduring mid-’90s crossover smash “Linger.” While the cover version had been racking up millions of U.S. streams every week for months already, the song is spiking again the past week, for some extremely 2024 reasons.
Your 14-year-old cousin could probably do a better job explaining the ins and outs of the cover’s recent virality than us, but we’ll give it a shot: Recently, popular Twitch streamer Sketch (real name: Kylie Cox) did a livestream that he called “Sketch of the Union,” meant to address rumors that had surfaced about him having previously appeared in gay porn films that had been shared on adult subscription service OnlyFans. During a particularly memorable part of the stream, Sketch gave credit to some of the folks who had stood by him during backlash he’d received stemming from the rumors (“Shout out Banks, shout out my parents…”), with his voice breaking from the emotion.
Clips of this climactic moment of the livestream ultimately made their way from Twitch to TikTok, with user @DennysJob laying the Royel Otis “Linger” underneath video of Sketch’s shoutout section, for a clip that has amassed nearly seven million views. The combined audio of the song and the speech ended up going viral in its own right, with other users lip synching to the shoutouts, and many more flocking to the song’s YouTube comments section to post variations of “shout out Banks” (with Banks referring to FaZe Clan CEO Richard Bengston, better known as FaZe Banks). As a result, the Royel Otis “Linger” posted over 3 million official on-demand U.S. streams over the first four days of this tracking week (July 26-29), a gain of 135% over the same period the week before, according to Luminate.
But that’s not all, of course. The Cranberries’ original “Linger” – which has already seen some major TikTok success this year, even reaching No. 13 on the Billboard TikTik Top 50 back in February – also had been racking up weekly streams in the millions this summer, and is now also seeing a spillover bump from the Royel Otis version’s increased exposure. The ‘90s “Linger” notched nearly 2.6 million streams from July 26-29, a 25% gain over the same period the week before. If the gains continue, the two versions could be duking it out for position on various rock-based Billboard charts in the weeks to come. – AU
Indian Rapper Hanumankind Makes Global Splash With Project Pat-Inspired “Big Dawgs”
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Thanks to an eye-popping daredevil music video and Project Pat’s timeless, irresistible flow, Kerala-born rapper Hanumankind has scored his first global hit with “Big Dawgs.” During the week of July 12-18, “Big Dawgs” earned just over 40,000 official on-demand U.S. streams. That number exploded by an unbelievable 3,055% to over 1.27 million streams during the week of July 19-25, according to Luminate.
Hanumankind, who is signed to Def Jam India, dropped “Big Dawgs” on July 9, with its official music video arriving the following day (July 10). The music video is inspired by the Well of Death, an attraction where people essentially drive motorbikes or cars around the walls of a silo at a near-90-degree angle. Naturally, such a visually arresting video made major waves, with several major streamers and Internet personalities sharing the clip with their Stateside followings.
On July 24, hip-hop commentator DJ Akademiks shared the music video to his official Instagram page, which boasts 5.3 million followers. On July 25, TikTok personality @itsyujen shared a reaction to the music video, which garnered a whopping 6.4 million views. Over the next four days (July 26-29), “Big Dawgs” posted an 824% increase in streaming activity versus the same period the week prior, with over 3.8 million streams.
The song, which also features Kalmi, has taken over hip-hop discourse in the States, with many lauding Humankind’s nod to Project Pat and his commitment to the art of the music video. On TikTok, the official “Big Dawgs” sound boasts over 25,300 videos and the official music video has earned over 6.1 million views on YouTube.
In an interview with The Hindu, Hanumankind revealed that both Project Pat and Bun B have privately given him his flowers. “These are my idols, my heroes. They hit me up,” he said. “They’re messaging me, telling me that they appreciate what we’re doing over here.” – KYLE DENIS
Kapo Scores Breakout Hit With “Ohnana”
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Five years after he debuted with the sultry “Humo,” rising Latin music star Kapo has secured an undeniable breakout hit in “Ohnana.
According to Luminate, “Ohnana” has posted a 125% increase in streams over the past four weeks, with the song pulling in over one million official on-demand U.S. streams in each of those weeks. Released June 6, the song ended that month with just under 700,000 streams during the period of June 21-27. On June 27, TikToker user @kendryoficiall posted a self-choreographed dance video that kicked off a larger trend on the app. To date, Kendry’s initial video – which featured several dancehall-informed moves – has garnered 4.1 million views, leading the official “Ohnana” sound to over 230,500 posts on the app.
On July 17, Grammy-nominated global superstar Maluma teased an upcoming remix of “Ohnana,” which garnered over 9.3 million views on his official Instagram alone. While the remix is still yet to be released, the tease helped “Ohana” earn one of its biggest week-over-week increases, jumping 35% in streaming activity from 1.7 million streams (July 12-18) to 2.3 million streams (July 19-25).
In addition to its TikTok virality, “Ohnana” has soundtracked nearly 150,000 Instagram Reels and its official music video has pulled in nearly 31 million views in just one month. Already a massive hit in his hometown of Colombia – the song reached a new peak of No. 3 on the Colombia Songs chart dated Aug. 3 — “Ohnana” also helped Kapo make his first appearance on the Billboard Global 200 (No. 112, chart dated Aug. 3). With the Maluma remix still on the way, Kapo could be making hisHot 100 debut next. – KD
THE RAMPAGE from EXILE TRIBE’s “24karats GOLD GENESIS” soars to No. 1 on this week’s Billboard Japan Hot 100, rising 49-1 on the chart dated July 31.
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Digitally released in June, the track debuted at No. 40 on the list dated June 19 after collecting points in downloads, streaming and radio airplay. The CD version went on sale July 24 and sold 326,342 copies in its first week, powering the track to No. 1 after seven weeks on the Japan Hot 100 where it consistently performed well mainly in radio leading up to this week.
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Mrs. GREEN APPLE‘s “Lilac” holds at No. 2, still leading streaming for the sixth straight week. Overall points for the Oblivion Battery opener have increased slightly, with the track coming in at No. 7 for downloads, No. 3 for video, No. 98 for radio, and No. 9 for karaoke.
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Creepy Nuts’ “Bling-Bang-Bang-Born” is back at No. 3, rising a notch after points for radio increased from the week before. The viral hit has been charting in the top 5 for 28 consecutive weeks.
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STARTO for you’s “WE ARE” rises to No. 4. The charity single by the project featuring 75 members from 14 groups under STARTO ENTERTAINMENT, including King & Prince, SixTONES, and Snow Man, launched with 209,847 CDs to hit No. 2 for sales, but didn’t chart in any of the other metrics of the Japan Hot 100’s methodology.
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Kocchinokento’s “Hai Yorokonde” continues to rise, moving 10-8 on this week’s chart. The track continues to hold at No. 1 for video for the fourth week in a row, and climbs 12-9 for downloads, 16-13 for streaming, and debuts at No. 75 for karaoke. Incidentally, while the video for “Hai Yorokonde” is being watched mostly in Japan (60%), it’s also being consumed in other countries including South Korea (8%) and the U.S. (5%), and the number of views in the latter two countries has been increasing in recent weeks, according to Luminate.
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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 July 22 to 28, here. For more on Japanese music and charts, visit Billboard Japan’s English Twitter account.