Chart Beat
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Cage the Elephant continues to climb the ranks of the acts with the most No. 1s on Billboard’s Alternative Airplay chart, claiming its 12th ruler on the Sept. 14-dated list with “Rainbow.”
The song jumps 3-1, becoming the rockers’ third leader in a row, following “Neon Pill” earlier this year and “Skin and Bones” in 2021.
The band has strung together three consecutive No. 1s for a third time. First came the run of “Back Against the Wall,” “In One Ear” and “Shake Me Down” in 2010-11, followed by “Cigarette Daydreams,” “Mess Around” and “Trouble” in 2015-16.
With 12 No. 1s, Cage the Elephant slots into a tie with Foo Fighters and Linkin Park for the third-most leaders in the Alternative Airplay chart’s 36-year history.
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Most No. 1s, Alternative Airplay:15, Red Hot Chili Peppers13, Green Day12, Cage the Elephant12, Foo Fighters12, Linkin Park10, Twenty One Pilots8, U28, Weezer7, The Black Keys7, Imagine Dragons
“Rainbow” concurrently tops Adult Alternative Airplay for a second straight week. On the all-rock-format, audience-based Rock & Alternative Airplay chart, it rises 6-4 with 3.3 million audience impressions in the week ending Sept. 5, according to Luminate.
“Rainbow” is the second single from Neon Pill, Cage the Elephant’s sixth studio album, following the title track. The set bowed at No. 7 on Billboard’s Top Alternative Albums chart dated June 1, making the band’s sixth top 10, and has earned 62,000 equivalent album units to date.
All Billboard charts dated Sept. 14 will update on Billboard.com Tuesday, Sept. 10.
Despite being released with just six hours left in the Sept. 14-dated Billboard charts’ tracking week, Linkin Park’s comeback single “The Emptiness Machine” debuts at No. 24 on the Rock & Alternative Airplay list. The song – the six-piece’s first with new vocalist Emily Armstrong, who sings with Mike Shinoda on it, and new drummer […]
The Offspring’s “Make It All Right” ascends two spots to No. 1 on Billboard’s all-rock-format, audience-based Rock & Alternative Airplay chart dated Sept. 14. The track reigns with 3.9 million audience impressions in the week ending Sept. 5, according to Luminate. The Dexter Holland-fronted act snags its first ruler on Rock & Alternative Airplay, which […]
Oasis officially announced its Oasis Live ’25 Tour across the United Kingdom and Ireland in August, marking the band’s first shows together in more than 15 years. It makes sense for the British group to kick things off overseas, but speculation has ramped up regarding a possible extension to North America – as the tour announcement included a hopeful statement of “plans are underway for (the tour) to go to other continents outside of Europe later next year.”
Looking back, how big of a touring act was Oasis during its original run, and what does that mean for a potential tour next year?
Oasis Live ’25 Tour is currently scheduled for 19 shows in stadiums across London, Dublin and the Gallagher brothers’ hometown of Manchester, England, and select other markets in the U.K., including two recently added shows at London’s Wembley Stadium due to “phenomenal public demand.” Next year’s stadium tour will be the band’s first stab at the outsized outdoor venues, but considering the activity surrounding the shows’ on-sale, it’s warranted. If the tour travels stateside, similar-sized shows would represent a major step up for the band.
The band’s last tour was the Dig Out Your Soul Tour in 2008-09, playing large theaters and scaled-down arenas in North America and Europe, with a mix of arenas and stadiums in Latin America. According to figures reported to Billboard Boxscore, that run averaged a career-best 12,108 tickets per show worldwide, up 37% from its previous tour, which itself marked a 15% increase from its previous high.
Oasis peaked as a touring act throughout the 2000s, despite making its biggest chart impact across its first three albums from 1994 to 1997. Those – Definitely Maybe, (What’s the Story) Morning Glory? and Be Here Now – combined for 125 weeks on the Billboard 200 albums chart and six top 10 hits on the Alternative Airplay chart. In the 21st century, the band has spent about one-fifth of that time on the former chart and hasn’t returned to the top 10 on the latter. Still, their touring business kept blossoming, growing by 60% in average attendance and multiplying by four in average revenue.
While Oasis hasn’t released a studio album since 2008’s Dig Out Your Soul, it’s likely that its concert fortunes have continued to grow exponentially. Time away from the spotlight and the natural nostalgia cycle positions them alongside Blink-182, Green Day and My Chemical Romance, all of which have yielded enormous Boxscore results from reunion and anniversary tours in the last 24 months. MCR averaged $1.6 million per show in 2022-23 after an 11-year touring hiatus, which is about 10 times its prior peak.
Oasis operated closer to Green Day in terms of ticket sales in the ‘90s and ‘00s. Also oscillating between theaters and arenas during its first 15 years, Green Day has launched its first solo-headline global stadium tour in 2024, averaging $3.4 million and 38,000 tickets per show in Europe.
Further, Oasis has a unique element adding fuel to its fire, as the long-simmering feud between Oasis’ leading brothers Liam and Noel Gallagher has helped to grow the band’s mythology, and therefore making the 2025 tour announcement feel like a once-in-a-lifetime event. Once hailed “The Next Beatles,” Oasis’ mid-2020s return to the stage adds to their singular legend.
And while Oasis has revealed only U.K. and Ireland dates so far, fans far and wide have reacted. Following the Aug. 27 announcement, “Don’t Look Back In Anger” and “Wonderwall” both debuted on the Billboard Global 200 (dated Sept. 7), up 138% and 72% in official worldwide streams in the week of Aug. 23-29, according to Luminate. On the Sept. 14-dated chart, both may post triple-digit-percentage increases.
In the United States specifically, Oasis’ entire catalog of songs yielded 13.5 million official on-demand streams, up by 148% in the week ending Aug. 29. With similarly massive gains in the U.S. as around the world, the possibility of a U.S. stadium tour would make Oasis one of 2025’s biggest global touring acts.
Dating back to the fall of 1994, Oasis has grossed $45.2 million and sold 1.1 million tickets across 150 reported shows. Given the band’s long-awaited and unexpected reunion, the endurance of its catalog, and the general explosion of concert ticketing, a world tour would easily out-gross and out-sell the band’s entire touring history.
Its Sabrina Carpenter for the win on Australia’s charts as Nick Cave and The Bad Seeds enjoy the top album debut.
Carpenter’s sixth studio album and first leader, Short n’ Sweet (via Island/Universal), extends its stay at the ARIA Chart summit for a second week, in doing so denying Nick Cave a homegrown leader with Wild God, new at No. 2.
It’s the alternative lock legends’ 14th ARIA top 10 album, and the followup to Ghosteen, which peaked at No. 2 in 2019. Nick Cave’s 2021 collaboration with Dirty Three leader Warren Ellis, Carnage, also reached No. 2.
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Cave has collected eight ARIA Awards for his solo or group work, took out top spot in 2013 with Push The Sky Away, and was inducted into the ARIA Hall of Fame in 2007. Wild God is Cave’s first release in these parts through a new deal with PIAS/Inertia.
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Billie Eilish completes the podium with Hit Me Hard And Soft (Interscope/Universal), up 4-3.
Oasis’s hyped 2025 reunion tour has been a hot story in Australia, where live dates have yet to be announced. That excitement spilled over with the 30th anniversary edition of the Britpop-era heavyweights’ debut album Definitely Maybe (Big Brother/Orchard), which enters the top 10 for the first time, at No. 10. Definitely Maybe peaked at No. 23 in 1994, according to ARIA.
Meanwhile, the Manchester rockers’ sophomore album from 1995, (What’s The Story) Morning Glory?, blasts back into the top 40, flying 71-27.
Oasis has impacted the ARIA Albums Chart Top 50 with nine titles, including a five-week stretch at No. 1 in 1996 for Morning Glory and for one week in 1997 with Be Here Now. Their last studio album, 2008’s Dig Out Your Soul, peaked at No. 5 in Australia.
Carpenter completes the chart double as “Taste” reigns for a second week on the ARIA Singles Chart, published Friday, Sept. 6. “Espresso,” meanwhile, stays hot at No. 2; “Please Please Please” is at No. 4, and Carpenters lands a fourth top 10 on the latest frame, as “Bed Chem” improves 11-10.
With the chart-topping successes of “Espresso,” “Please Please Please” and “Taste,” the U.S. singer and actor has logged five total weeks at No. 1 so far in 2024, more than any other female artist.
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: The Marias score a breakout hit with help from a superstar cosign, Bossman Dlow makes approximately his 73rd Trending Up appearance of 2024 and Surf Curse are back with another new hit from the decade prior.
Marias Put Internet on “Notice” With Help From Billie Eilish
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It’s been one of the feel-good stories about one of the feel-bad hits of the year. indie-pop favorites The Marias, who song in both English and Spanish and previously made the Hot 100 in 2022 as guests on the dreamy “Otro Atardecer” from Bad Bunny’s blockbuster Un Verano Sin Ti album, have seen their “No One Noticed” slowly get massive on TikTok over the past few months, with audiences finding the sighing summer-bummer anthem (especially the “Come on, don’t leave me it can’t be that easy, babe/If you believe me I guess I’ll get on a plane” breakdown section) invaluable in soundtracking their seasonal sadness. Among the more high-profile of those fans: alt-pop superstar Billie Eilish, whose July 17 posting on her IG stories of her singing along to the song helped accelerate its viral velocity.
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For the chart week ending July 18, the song scored 1.5 million official on-demand streams, according to Luminate. But following the Eilish share, the song has grown between 10 and 30 percent in streams in each of the six weeks since — reaching 4.7 million for the week ending Aug. 29, a 223% gain in total. The song has since climbed to No. 12 on Billboard‘s Hot Rock Songs chart and even jumps 13-6 on this week’s Bubbling Under Hot 100, getting that much closer to joining the four still-charting hits from Billie’s own Hit Me Hard and Soft on the Hot 100 proper. — ANDREW UNTERBERGER
Bossman Dlow Adds Another Hit to His Arsenal with Luh Tyler’s “2 Slippery”
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Another week, another hit for Bossman Dlow, one of 2024’s biggest breakout stars. The Florida rapper has previously appeared in the column this year, and he’s back again as the featured artist on “2 Slippery,” a Luh Tyler song that’s picking up steam on streaming.
According to Luminate, “2 Slippery” earned over 4.5 million streams during the week of Aug. 23-29. That marks a whopping 82% increase from a month ago (July 25-Aug. 1), during which the song pulled around 2.48 million streams. Streams for “2 Slippery” have increased ebery week for the past month, with the biggest increase coming last week. That 4.5 million figure was a 42.3% increase from the 3.17 million streams the song pulled the week prior (Aug. 16-22).
TikTok has unsurprisingly been the song’s biggest source of traction. A trend giving recognition to the “big dawgs” among us – more specifically, men whose height starts with a “6” and weight starts with a “2.” Users who fit that description film themselves mouthing these lyrics from Bossman Dlow’s verse: “Tired of fuckin’ with them lames, come fuck with some bosses, baby/ She don’t want no puppy, she want a big dog.” On TikTok, the official “2 Slippery” sound boasts over 38,200 posts, with other popular clips including footage of NBA star Anthony Edwards jamming to Dlow’s music, workout videos, and strolling videos from various Black Greek letter organizations.
“2 Slippery” is the latest single from Luh Tyler’s new Mr. Skii LP, which recently entered the Billboard 200 at No. 197, marking his first appearance on the chart. — KYLE DENIS
A Surf Blessing and a Surf Curse: Band Scores Second Viral Hit With Second Five-Plus-Year-Old Song
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Indie surf rockers Surf Curse first made national noise in 2020, when their song “Freaks” became one of the most popular sounds on TikTok during the early days of the COVID pandemic. By that point, the song was already nearly a decade old — having originally been released on their 2013 album Buds — and despite signing to major label Atlantic in 2021, subsequent 2022 LP Magic Hour failed to produce another streaming hit near the level of “Freaks.” In 2024, however, the band finally has a second hit on its hands — and of course, it’s once again from the pre-pandemic era.
“Disco” is a little newer than “Freaks” was when it took off, at least, having originally dropped in 2019 as lead single to the band’s third album Heaven Surrounds You. But the song has really taken off in the past month, once again thanks to TikTok, where “Disco” has (appropriately) caught on as a dance challenge. No mirrorballs or bell bottoms needed for this one, however: Users instead use the song’s new-wavey chorus to soundtrack clips of them and a partner throwing their arms in different directions in tandem to the refrain’s staccato first half, then doing a kind of twist together as the full groove kicks in, before repeating the steps.
The challenge has helped “Disco” explode on streaming, as the single pulled 2.8 official on-demand U.S. streams for the tracking week ending Aug. 29 — up 351% from three weeks earlier. The band can at least take heart now that it’s not too late for one of the cuts from Magic Hour to have a big moment of its own; they may just have to wait for the early 2030s. — AU
The Contenders is a midweek column that looks at artists aiming for the top of the Billboard charts, and the strategies behind their efforts. This week, for the Billboard Hot 100 dated Sept. 14, we look at a race that’s been dominated by one song for about two months now – and what songs, if any, may be closing the gap in the near future.
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Shaboozey, “A Bar Song (Tipsy)” (American Dogwood/EMPIRE/Magnolia Music): Well, he narrowly lost out on Billboard’s official Song of the Summer to Post Malone and Morgan Wallen with “I Had Some Help” — another week or two and that race might’ve gotten really interesting – but Shaboozey can content himself that he’s held on at No. 1 for yet another week on the Hot 100. That’s eight weeks total now for “A Bar Song,” marking the longest run of 2024, and the longest for anyone since (again) Morgan Wallen, whose “Last Night” reigned for twice that long in 2023.
And it doesn’t appear to be fading much yet, either. It remains in the top five on Streaming Songs and atop atop both Digital Song Sales (12 weeks) and Radio Songs (five weeks). Its radio dominance also includes six weeks thus far atop the Country Airplay chart – one week away from passing Carrie Underwood’s “Jesus, Take the Wheel” for the longest-reigning country career-establishing No. 1 (defined as an artist’s first Country Airplay entry as a lead artist, or their initial song promoted to country radio) in the chart’s history. As long as its cross-platform dominance holds strong — it’s also been No. 1 the past two weeks on Adult Pop Airplay – it will remain a contender for the top spot; another artist is gonna have to really rise up to take the crown from it.
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Sabrina Carpenter, “Taste,” “Please Please Please” & “Espresso” (Island): Could Sabrina Carpenter be the artist to do that? She certainly has strength in numbers going for her: Carpenter holds the Nos. 2-4 spots on the Hot 100 this week (dated Sept. 7), as her Short n’ Sweet album conquers the Billboard 200 albums chart. Long-running hits “Please Please Please” (No. 1 peak) and “Espresso” (No. 3) shoot back up to Nos. 3 and 4 on the chart, respectively, while just above them, the brand-new “Taste” bows at No. 2, thanks in large part to a spicy new music video with TV and film star Jenna Ortega as its co-lead.
All three should be strong performers for some time. “Taste” remains atop essentially all major streaming charts – including Apple Music’s real-time listing, Spotify’s Daily Top Songs USA and YouTube’s Trending Music – over a week after its release, while “Please Please Please” climbs to No. 1 on Pop Airplay and “Espresso” holds at No. 3 on the overall Radio Songs chart. The biggest issue with Carpenter claiming the Hot 100’s No. 1 spot soon might be a kind of vote-splitting effect — particularly on the airwaves, where programmers simply have more songs of hers right now than they know what to do with.
“Taste” has momentum on its side, and is already nearing the 50-position Radio Songs listing. If it can pick up enough airplay before its streaming totals really start to drop, it could close the gap with “A Bar Song” before too long. In the meantime, an extra boost from Carpenter would help – like, say, with a memorable performance at the MTV Video Music Awards, where she’s scheduled to perform next Wednesday (Sept. 11).
Lady Gaga & Bruno Mars, “Die With a Smile” (Streamline/Interscope/Atlantic/ICLG): Meanwhile, momentum has hardly sagged at all for the new Lady Gaga and Bruno Mars duet – which falls to No. 6 on the Hot 100 this week thanks to the Sabrina surge, but holds in the top three on both Digital Song Sales and Streaming Songs, and is already bounding up Radio Songs, jumping 45-36 this week. And despite falling on Streaming Songs post-Short n’ Sweet, it’s actually up in total streams for the week, and even hits No. 1 on both Billboard Global charts.
Will the song be in position to take over the Hot 100’s top spot when the Gaga-starring Joker: Folie a Deux – which “Smile” does not appear to be officially connected to, but which it does have some spiritual kinship with via its title – hits American theaters in October? Will it even have to wait that long?
Billie Eilish, “Birds of a Feather” (Darkroom/Interscope/ICLG) & Chappell Roan, “Good Luck Babe” (KRA/Amusement/Island/Republic): Both of these now-long-running (if relatively slower-building) hits seem to have fallen behind in the race a bit, as they’ve been passed by the big-debuting “Taste” and “Smile.” But both are still definitely in the mix, with both holding in the top 10 on Streaming Songs, and “Birds” having reached the top 10 on Radio Songs, with “Babe” likely to join it there next week. The VMAs next week may also hold bump potential for both: Eilish is not performing but is a four-time nominee, while Roan is making her debut on the VMAs stage and is also up for four awards.
Amy Allen’s songwriting first appeared on Billboard’s charts in 2018 (via Selena Gomez’s “Back to You”) and now, six years later, she’s the No. 1 songwriter in the United States for the first time.
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Allen jumps from No. 14 to No. 1 on the latest Hot 100 Songwriters chart (dated Sept. 7), thanks to 13 songwriting credits on the Billboard Hot 100, including all 12 from Sabrina Carpenter’s album Short n’ Sweet, which opens at No. 1 on the Billboard 200.
Here’s a recap of all 13 of Allen’s songwriting credits on the latest Hot 100.
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Rank, Artist Billing, Title (co-songwriters in addition to Allen):
No. 2, Sabrina Carpenter, “Taste” (Sabrina Carpenter, John Ryan, Julia Michaels, Ian Kirkpatrick)
No. 3, Sabrina Carpenter, “Please Please Please” (Carpenter, Jack Antonoff)
No. 4, Sabrina Carpenter, “Espresso” (Carpenter, Julian Bunetta, Steph Jones)
No. 14, Sabrina Carpenter, “Bed Chem” (Carpenter, Ryan, Michaels, Kirkpatrick)
No. 15, Sabrina Carpenter, “Good Graces” (Carpenter, Ryan, Michaels, Bunetta)
No. 21, Sabrina Carpenter, “Sharpest Tool” (Carpenter, Antonoff)
No. 22, Sabrina Carpenter, “Juno” (Carpenter, Ryan)
No. 26, Sabrina Carpenter, “Coincidence” (Carpenter, Ryan, Michaels, Kirkpatrick)
No. 27, Sabrina Carpenter, “Slim Pickins” (Carpenter, Antonoff)
No. 32, Sabrina Carpenter, “Dumb & Poetic” (Carpenter, Ryan, Michaels)
No. 35, Sabrina Carpenter, “Don’t Smile” (Carpenter, Ryan, Bunetta, Jones)
No. 41, Sabrina Carpenter, “Lie To Girls” (Carpenter, Antonoff)
No. 51, Koe Wetzel & Jessie Murph, “High Road” (Koe Wetzel, Jessie Murph, Gabe Simon, Carrie Karpinen, Laura Veltz, Josh Serrato)
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Carpenter ranks at No. 2 on Hot 100 Songwriters; Allen claims No. 1 thanks to her additional credit on Koe Wetzel and Jessie Murph’s “High Road,” which ranks at No. 51 in its 12th week on the chart. Allen and Carpenter’s other writing collaborators, Jack Antonoff and John Ryan, place at Nos. 3 and 4 on Hot 100 Songwriters, respectively.
Allen is the sixth woman to hit No. 1 on the Hot 100 Songwriters chart in 2024, after Tracy Chapman, Ariana Grande, Beyoncé, Taylor Swift and Billie Eilish. Other than Allen and Chapman (who topped the chart thanks to Luke Combs’ cover of her song “Fast Car”), the only other woman in the chart’s six-year history to hit No. 1 that wasn’t the billed recording artist on the songs they’d written that sent them to No. 1 is Jessica Agombar, who spent five weeks at No. 1 in 2020, alongside David Stewart, thanks to their work on BTS’ No. 1 hit “Dynamite.”
Allen has co-written 34 Hot 100-charting songs, dating to Gomez’s “Back to You” (No. 18 peak). She followed that up with Halsey’s No. 1 “Without Me” in January 2019. Seven of her 34 hits have reached the top 10: “Without Me”; Harry Styles’ “Adore You” (No. 6) and “Matilda” (No. 9); Tate McRae’s “Greedy” (No. 3); and Carpenter’s “Espresso” (No. 3), “Please Please Please” (No. 1) and “Taste” (No. 2). She has also written songs recorded by Justin Bieber, Fletcher, Olivia Rodrigo and Justin Timberlake, among others.
Six of Allen’s songs have hit No. 1 on the Pop Airplay chart: “Without Me,” “Adore You,” “Greedy” and Carpenter’s “Feather,” “Espresso” and “Please Please Please.”
Allen has also released more than a dozen songs on streaming services as a lead recording artist, including four this year: “Girl With a Problem,” “Darkside,” “Even Forever” and “To Love Me.”
Billboard launched the Hot 100 Songwriters and Hot 100 Producers charts, as well as genre-specific rankings for country, rock & alternative, R&B/hip-hop, R&B, rap, Latin, Christian, gospel and dance/electronic, in June 2019, while alternative and hard rock joined in 2020, along with seasonal holiday rankings in 2022. The charts are based on total points accrued by a songwriter and producer, respectively, for each attributed song that appears on the Hot 100. The genre-based songwriter and producer charts follow the same methodology based on corresponding “Hot”-named genre charts. As with Billboard’s yearly recaps, multiple writers or producers split points for each song equally (and the dividing of points will lead to occasional ties on rankings).
The full Hot 100 Songwriters and Hot 100 Producers charts and full genre rankings can be found on Billboard.com.
Travis Scott rounds up his fourth consecutive No. 1 project on Billboard’s Top R&B/Hip-Hop Albums chart as Days Before Rodeo debuts atop the list dated Sept. 7. The mixtape, which received its first commercial and wide streaming release for its 10th anniversary, opens with 361,000 equivalent album units earned in the U.S. in the tracking week of Aug. 23-29, according to Luminate.
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Of Days Before Rodeo’s starting total, 331,000 units come through album sales, giving the mixtape the best sales week for any R&B/hip-hop title (either that has appeared on or is eligible for Top R&B/Hip-Hop Albums) in more than seven years, since Kendrick Lamar’s Damn. sold 353,000 copies in its debut week of April 14-20, 2017. It also rewriters Scott’s personal best sales week for an album, eclipsing Astroworld, which opened with 270,000 copies in 2018.
The sales avalanche was aided by eight different editions of the Days Before Rodeo digital album, six of which were exclusively sold through Scott’s official webstore. Besides the standard 12-song version, the seven variants contained assorted bonus tracks, such as previously unreleased and teased studio cuts and chopped and screwed remixes of the album’s songs. All variants sold via Scott’s webstore were priced at $4.99, while versions available in the iTunes Store were also available for $4.99 at the end of the tracking week.
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Thanks to its six-figure arrival, Days Before Rodeo launches at No. 1 on the Top Album Sales chart.
Streaming activity contributes 30,000 units to Days Before Rodeo’s first-week sum, which represents 40.6 million official on-demand streams of the 12 songs on the album’s streaming edition. Track-equivalent albums comprise a negligible amount of activity.
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With Days Before Rodeo, Scott lands his fourth straight chart-topper on Top R&B/Hip-Hop Albums. The streak began with 2016’s Birds in the Trap Sing McKnight, a one-week leader, and continued with ASTROWORLD (five weeks, 2018) and Utopia (seven weeks, 2023). Of his five appearances, only Rodeo missed the top spot – debuting and peaking at No. 2 in 2015.
Days Before Rodeo was first released as a free mixtape on Aug. 18, 2014, and the 12-track set received its first commercial and official streaming release for its 10th anniversary, on Aug. 23. The night before the release, Scott celebrated with a concert at The Masquerade in Atlanta, where he performed 10 of the project’s songs among other tracks.
Elsewhere, Days Before Rodeo begins at No. 1 on the Top Rap Albums chart, where it becomes Scott’s fifth champ – the entirety of his charting releases.
Seven Days Before Rodeo tracks reach the Hot R&B/Hip-Hop Songs chart, led by “Drugs You Should Try It” at No. 13. Here’s a full review of the cuts:
No. 13, “Drugs You Should Try It”
No. 26, “Mamacita,” featuring Young Thug & Rich Homie Quan
No. 28, “Skyfall,” featuring Young Thug
No. 36, “Days Before Rodeo: The Prayer”
No. 38, “Don’t Play,” featuring Big Sean + The 1975
No. 39, “Quintana Pt. 2”
No. 46, “Backyard”
Beyond his new additions, Scott appears on two more tunes on Hot R&B/Hip-Hop Songs this week: “Parking Lot,” his collaboration with Mustard, slides 21-23 after previously getting to a No. 17 best, while prior No. 2 hit “Type Shit” with Future, Metro Boomin and Playboi Carti slips 15-16.
The top two of the TikTok Billboard Top 50 chart remains the same, with Clean Bandit’s “Symphony” and Surf Curse’s “Disco” at Nos. 1 and 2, while Sabrina Carpenter’s “Taste” nears the top by jumping 9-3 on the ranking dated Sept. 7.
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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 from Aug. 26 to Sept. 1. Activity on TikTok is not included in Billboard charts except for the TikTok Billboard Top 50.
“Symphony,” which features Zara Larsson, logs a second week at No. 1 after debuting at the top of the Aug. 31 tally. That’s as streams of the 2017 track continue to rise, accruing 1.5 million official U.S. streams in the week ending Aug. 29, up 84%, according to Luminate. (The song reached No. 10 on Billboard’s Hot Dance/Electronic Songs chart in 2017.)
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As mentioned in the article announcing the Aug. 31-dated TikTok Billboard Top 50, “Symphony” is driven on TikTok by a trend using a meme featuring colorful dolphins, often with captions that go against the lively photos and videos and take a darker tone. Larsson herself eventually used the meme in the background during one of her concerts as a nod to the trend.
Surf Curse’s “Disco” remains at No. 2 via a two-person trend, begetting yet another rise in streams to 2.8 million in the week ending Aug. 29 (up 67%).
Carpenter’s “Taste” sports a big gain at No. 3, up from its No. 9 debut Aug. 31 that occurred despite just three days of tracking following its Aug. 23 release. With a full week of data, it rises to No. 3, concurrent with its No. 2 debut on the Billboard Hot 100, as previously reported.
“Taste” benefits from a feature in which users can create a custom frame by using the song, as well as lip-synch clips and content reposting the song’s music video.
Overall, Carpenter sports three appearances on the latest TikTok Billboard Top 50. “Bed Chem” debuts at No. 18, while “Please Please Please,” which peaked at No. 2 in June, ranks at No. 36.
“Die With a Smile,” by Lady Gaga and Bruno Mars, and Alphaville’s “Forever Young” round out the top five, both reaching the region for the first time. The former, which debuted at No. 3 on the Hot 100 and currently appears at No. 6 on the multimetric survey, is largely driven by romance-themed uploads (homecoming proposals, edits of popular TV shows and movies, lip-synchs, etc.). “Forever Young,” No. 65 on the Hot 100 in 1988, is similarly buoyed by fictional character edits, plus clips reminiscing about the passage of time.
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.