Chart Beat
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After becoming Post Malone’s first No. 1 on Billboard’s Country Airplay chart, “I Had Some Help,” featuring Morgan Wallen, crosses over to the top of the Pop Airplay tally (dated July 26).
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The song, which ruled Country Airplay for four weeks beginning in June, is Post Malone’s sixth Pop Airplay No. 1 and Wallen’s first. (It became the 13th of Wallen’s 14 Country Airplay leaders.) Post Malone last led Pop Airplay with “I Like You (A Happier Song),” featuring Doja Cat, in 2022; he first reigned with “Psycho,” featuring Ty Dolla $ign, in 2018.
“I Had Some Help” is just the second song ever to top both Country Airplay and Pop Airplay (since the lists launched in 1990 and 1992, respectively). Taylor Swift’s “Love Story” commanded Country Airplay for two weeks in November 2008 and Pop Airplay for a week in February 2009. (Republic Records has promoted both singles to pop radio.)
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Plus, thanks to “I Had Some Help” and Shaboozey’s “A Bar Song (Tipsy),” up to No. 1 on Country Airplay as it holds at its No. 5 high on Pop Airplay, the charts share two top five hits simultaneously for the first time. To date, only 10 songs have reached the top five of both rankings at all; Wallen and Swift boast two each.
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Songs to Hit the Top Five on Both Country Airplay & Pop Airplay:
“I Had Some Help,” Post Malone feat. Morgan Wallen, 2024 / No. 1 Country Airplay, No. 1 Pop Airplay
“A Bar Song (Tipsy),” Shaboozey, 2024 / No. 1 Country Airplay, No. 5 peak Pop Airplay, to date
“Last Night,” Morgan Wallen, 2023 / No. 1 Country Airplay, No. 5 Pop Airplay
“I Hope,” Gabby Barrett (feat. Charlie Puth on its pop remix), 2020 / No. 1 Country Airplay, No. 3 Pop Airplay
“Meant To Be,” Bebe Rexha & Florida Georgia Line, 2018 / No. 1 Country Airplay, No. 2 Pop Airplay
“Need You Now,” Lady Antebellum, 2009-10 / No. 1 Country Airplay, No. 2 Pop Airplay
“You Belong With Me,” Taylor Swift, 2009 / No. 1 Country Airplay, No. 2 Pop Airplay
“Love Story,” Taylor Swift, 2008-09 / No. 1 Country Airplay, No. 1 Pop Airplay
“All Summer Long,” Kid Rock, 2008 / No. 4 Country Airplay, No. 4 Pop Airplay
“You’re Still the One,” Shania Twain, 1998 / No. 1 Country Airplay, No. 3 Pop Airplay
Related to country and pop crossover hits, seven titles have hit the top five of both surveys but via two versions each: “Back at One” (by Brian McKnight and Mark Wills, in 1999-2000); “(God Must Have Spent) A Little More Time on You” (*NSYNC, and Alabama feat. *NSYNC, 1999); “I Don’t Want To Miss a Thing” (Aerosmith and Mark Chesnutt, 1998-99); “How Do I Live” (Trisha Yearwood and LeAnn Rimes, 1997); “Nobody Knows” (The Tony Rich Project and Kevin Sharp, 1996-97); “I Can Love You Like That” (John Michael Montgomery and All-4-One, 1995); and “I Swear” (Montgomery and All-4-One, 1994).
Additionally, Whitney Houston crowned Pop Airplay for nine weeks in 1992-93 with “I Will Always Love You.” Dolly Parton, who penned the classic, led the Hot Country Songs chart with her versions in 1974 and 1982.
Shaboozey scores his first No. 1 in his first appearance on Billboard’s Country Airplay chart as “A Bar Song (Tipsy)” ascends to the top of the tally dated Aug. 3. It increased by 14% to 31.4 million audience impressions July 19-25, according to Luminate. Explore See latest videos, charts and news See latest videos, charts […]
The Billboard Hot 100 chart ranks the top songs in the United States each week, blending streaming, radio airplay and sales figures (per data tracker Luminate). Unsurprisingly, the biggest hits tend to be relatively new at any given time, as they have been since the survey began in 1958. On the latest list, five acts are even enjoying their first top 10s: Shaboozey, Tommy Richman, Sabrina Carpenter – simultaneously logging her first two top 10s – Teddy Swims and Benson Boone.
But what about the current biggest hits that were released in past decades?
Nostalgia sells, and streams and attracts strong radio play, per a Billboard analysis of the best-performing songs in the July 12-18 tracking week that were originally released in the 2000s, 1990s, ‘80s, ‘70s and ‘60s.
Similarly, as Luminate revealed in its midyear report, catalog music (released 18 months or earlier) accounted for 73% of all album consumption in the first half of 2024, matching its share in 2023, and up slightly from its totals earlier this decade. (Even the Hot 100’s current No. 1 draws from the past, as Shaboozey’s “A Bar Song [Tipsy],” on top for a second week, interpolates J-Kwon’s 2004 hit “Tipsy.”)
Below is a look at the top 10 songs this week from each decade from the ‘00s back to the ‘60s. Notably, the top track from the ‘00s experienced an unexpected surge: Following the July 13 shooting of former president Donald Trump during a campaign rally, memes emerged comparing him to 50 Cent, who was shot nine times in 2000. (Mused a shrugging 50 Cent, “Trump gets shot and now I’m trending.”)
The rapper’s “Many Men (Wish Death)” subsequently reigns as the biggest song from the 2000s July 12-18, led by 6.4 million official U.S. streams – up 224% week-over-week.
The song’s performance outpaces its original showing, as it bubbled under the Hot R&B/Hip-Hop Songs chart in 2003 and has yet to reach the ranking, or the Hot 100. Still, most of the titles below (and, happily, reflecting content of a more peaceable nature) were substantial hits upon their releases, with over 80% top 10 hits on the Hot 100 over the five decades analyzed.
Browse below the most prominent representation of songs from the 2000s (2000-09), 1990s, ‘80s, ‘70s and ‘60s over the past week, encompassing a wide variety of genres, from pop and hip-hop to new wave, classic rock and Motown.
Biggest Hits This Week From the 2000s
Image Credit: Theo Wargo/WireImage
Slim Shady’s not dead on Australia’s charts.
Eminem’s The Death of Slim Shady (Coup de Grâce) (via Interscope/Universal) enters a second week at No. 1 on the ARIA Albums Chart, published Friday, July 26.
As previously reported, The Death of Slim Shady (Coup de Grâce) is the Rap God’s 11th No. 1 in Australia, a streak that reaches back to The Marshall Mathers LP in 2000. It’s his 10th to debut at the summit.
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The top new release on the latest ARIA Chart belongs to K-pop group Stray Kids with their mini album Ate (VMG/Universal), new at No. 5. It’s Stray Kids’ fifth ARIA Top 50 appearance after Noeasy (No. 14 in 2021), Maxident (No. 4 in 2022), 5-Star and Rock-Star (both peaked at No. 2 in 2023).
Stray Kids have an Australian connection through bandmates Felix and Bang Chan. Earlier this week, the pop group announced the Australia leg of their dominATE world tour, with shows at Melbourne’s Marvel Stadium (Oct. 19) and Sydney’s Allianz Stadium (Oct. 26), produced by Live Nation.
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British indie band Glass Animals roars to No. 5 with I Love You So F***ing (via Polydor/Universal), their fourth studio album. Glass Animals made an early breakthrough with Australian audiences when, in 2021, their song “Heat Waves” won triple j’s Hottest 100 countdown. “Heat Waves” went on to finish 2021 as the year’s best-selling single in Australia.
As TV Girl completes a four-date, three-city tour of Australia, the U.S. alternative pop act lands chart debuts with the independently-released 2016 LP Who Really Cares (at No. 13) and 2014 debut French Exit (No. 19). TV Girl wrapped its national tour July 20 with a performance at Brisbane’s Riverstage with The Last Dinner Party.
Further down the albums tally, BTS member Jimin’s new album Muse (BigHit Entertainment/Universal) arrives at No. 27, for his first solo appearance on the national albums survey.
Over on the ARIA Singles Chart, Shaboozey’s “A Bar Song (Tipsy)” (via Empire) starts a fourth consecutive week at No. 1. Meanwhile, Billie Eilish’s “Birds Of A Feather” flies 3-2, for a new chart position. According to ARIA, it’s the U.S. pop phenomenon’s fourth single to reach the top 2 following “Bad Guy,” “Everything I Wanted” and “What Was I Made For?” “Birds of a Feather” is lifted from former No. 1 Hit Me Hard And Soft, which dips 2-3 on the albums leaderboard.
Finally, Sabrina Carpenter doubles up with top 5 appearances for platinum-certified “Espresso” (down 2-3 via Island/Universal) and “Please Please Please” (down 4-5). Both singles have logged time at No. 1.
Many streams for “Many Men (Wish Death)” power 50 Cent’s Get Rich or Die Tryin’ album flying back to No. 22 on Billboard’s Top R&B/Hip-Hop Albums chart dated July 27. The set enjoys its highest chart rank since its original 2003 release run, spurred by a “Many Men” streaming boost after many social media users used the song to comment on the July 13 shooting at former president Donald Trump’s rally.
For the tracking week of July 12-18, Get Rich or Die Tryin’ earned 13,000 equivalent album units, according to Luminate, a 62% surge from 8,000 units in the previous week. “Many Men” drove much of the improvement, with the song registering 6.4 million official U.S. streams in the tracking week, a 224% rally from its 2 million total in the prior frame. It was the best-streamed Get Rich or Die Tryin’ cut for the week, eclipsing usual frontrunner “In Da Club,” which pulled 3.9 million clicks.
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Accompanying the streaming boost, “Many Men” also experienced a sales lift to 3,000 downloads sold, up from a negligible amount in the previous tracking week. Thanks to the purchases, the track launches at No. 4 on the R&B/Hip-Hop Digital Song Sales chart and No. 14 on the all-genre Digital Song Sales list.
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“Many Men” — with the chorus starting with the line “Many men wish death upon me” — surged in online popularity in the wake of July 13’s apparent attempted assassination of Trump near Butler, Pennsylvania. Social media users soundtracked memes with the song and shared altered Get Rich or Die Tryin’ album covers with the former president’s head superimposed on 50 Cent, who famously survived being shot nine times. The rapper himself joined in on the trend, even promoting his own “Many Men” T-shirts.
With its No. 22 return on Top R&B/Hip-Hop Albums, Get Rich or Die Tryin’ attains its best showing since its No. 21 rank on the chart dated Oct. 4, 2003. At the time, the album was enjoying its third consecutive top 10 hit on the Billboard Hot 100, “P.I.M.P.,” after prior singles “In Da Club” and “21 Questions,” featuring Nate Dogg, both topped the chart. Notably, although “Many Men” wasn’t pushed as an official single and never charted on the Hot 100, its fan-favorite status gave it 12 weeks on the Bubbling Under Hot R&B/Hip-Hop Songs chart in 2003.
Elsewhere, Get Rich or Die Tryin’ returns at No. 17 on the Top Rap Albums chart and rockets 185-75 on the all-genre Billboard 200.
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 nation-shaking news of President Joe Biden stepping down from the upcoming presidential race, presumably to be replaced on the Democratic ticket with Vice President Kamala Harris, has already led to a number of sizeable bumps for Harris-connected pop songs, while Tenacious D gets a bump from recent interest that they’d likely be happier without.
Kamala IS Brat — But Harris’ Ascent is Boosting More Artists Than Just Charli XCX
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When President Joe Biden announced on Sunday (July 21) that he was ending his 2024 re-election campaign and endorsing Vice President Kamala Harris as the Democratic nominee, the biggest news of the week in U.S. politics was seismic enough to naturally spread into the world of popular culture. Plenty of music stars quickly reacted to the announcement, and a handful have already endorsed Harris as their 2024 candidate — but a few music tie-ins are already reverberating on streaming platforms in the opening days of her candidacy.
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There is, of course, the role that Harris’ coronation plays in our ongoing Brat Summer. On Sunday night, Charli XCX posted on Twitter, “Kamala IS Brat,” and the Harris campaign responded in kind, swapping in the Brat lime green color and font on its official account; meanwhile, CNN aired a segment dissecting what exactly being “brat” signifies, in relationship to the British pop star’s hit new album. Thanks in part to the campaign’s co-sign, Brat is up 14% in official on-demand U.S. streams from last Monday and Tuesday (10.3 million streams over July 15-16, according to Luminate) to the same period this week (11.8 million streams over July 22-23).
Meanwhile, the Harris campaign used Chappell Roan’s opening track on The Rise and Fall of a Midwest Princess, “Femininonenon,” in a TikTok video that criticized President Trump on Monday, boosting streams of the song by 19% from last Monday and Tuesday (1.22 million streams over July 15-16) to this Monday and Tuesday (1.46 million over July 22-23). And while both the Charli XCX and Chappell Roan albums are relatively recent projects still earning robust streams, the Harris campaign also revived “Freedom,” Beyoncé’s collaboration with Kendrick Lamar from her 2016 album Lemonade, which she has adopted as her official campaign theme (which Queen Bey’s approval), with it soundtracking her first campaign HQ entrance on Monday and her first campaign ad on Tuesday. Consequently, streams of “Freedom” leapt from 37,000 over July 15-16 to 232,000 over July 22-23 — a whopping 519% spike. – JASON LIPSHUTZ
Tenacious D Up in Streams After Member’s Trump Assassination Comments Leads to Band Going on Hiatus
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This hasn’t been the best month for the Jack Black-fronted comedy-rockers Tenacious D, who found themselves in the eye of a controversy storm following an onstage comment made by co-founder Kyle Gass at the band’s July 14 gig in Sydney, Australia. During a birthday celebration in which he was presented with a birthday cake, Black asked Gass to make a birthday wish, to which he responded, “Don’t miss Trump next time.” The remark was, of course, in reference to the assassination attempt the night before on former president Donald Trump — and ultimately made for global news, as word of the comment spread over social media and ultimately drew heavy criticism.
In response to the backlash, Gass issued an apology (which has since been deleted) for his “severe lack of judgment” in his remarks about what he now deemed a “tragedy.” Shortly after, Black released his own statement, saying that he was “blindsided” by his bandmate’s remarks, and that he’d decided to cancel the rest of his and Gass’ 2024 tour and put the band on indefinite hiatus.
Perhaps the lone bit of good news for Tenacious D in all of this is that all the controversy has lead to a modest spike of streaming interest in the band’s music. Over the period of July 16-17 — the two days after news of Gass’ comment, the subsequent backlash and the band’s response to it really started to go viral — the band attracted 609,000 official on-demand U.S. streams, according to Luminate, a gain of 14% over the 533,000 streams the band racked up the previous Tuesday-Wednesday. – ANDREW UNTERBERGER
Sevdaliza’s Culture-Bridging Global Smash Makes Some Stateside Headway
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What do you get when you combine a Dutch-Iranian artist (Sevadaliza), a Brazilian singer (Pabllo Vittar) and a French singer-songwriter (Yseult)? A global hit, of course.
“Alibi,” an infectious multilingual bop, has taken over the world thanks to its hypnotic melody and sample of colombian singer Totó la Momposina’s “Rosa” — which boasts a history that dates back to 1918.
According to Luminate, “Alibi” earned just under 1.6 million official on-demand U.S. streams during the period of June 28-July 4. The following seven-day period (July 5-11), those figures increased by 35% to 2.15 million streams. By the period of July 12-18, once the waist-isolating TikTok dance trend truly started to take off, streams for “Alibi” exploded by a further 121% to 4.7 million streams. In just two weeks, “Albi” was able to increase its streaming activity by a whopping 200%.
Officially released on June 28, “Alibi” arrived as an immediate viral sensation thanks to its months-long TikTok notoriety. Sevdaliza’s May 6 TikTok teasing the track currently boasts a stunning 18.5 million views, with the official “Alibi” sound playing in over 2.4 million unique posts on the app. A simple belly dance-inspired trend focusing on hip-rolling and waist-wining (depending on your skill level) is by far the most dominant “Alibi” trend on the app, while clips of people gawking at the muscle control or lamenting that they could never dance in that way making up a significant portion of posts as well. “Alibi” received another wind of virality after users started to share their opinions of a viral quinceañera video – which contained dance moves some thought were inappropriate for a 15-year-old to perform in front of family – as the song played in the background. On YouTube, the song’s official music video has amassed over 35 million views in just three weeks. The baile funk and Latin pop banger also soundtracks over 660,000 Reels on Instagram.
Already a Billboard hit – the song has reached No. 3 on World Digital Song Sales, No. 19 on the Global 200 and No. 8 on the TikTok Billboard Top 50 — “Alibi” could be gearing up for a Hot 100 appearance, should its streams continue to rise. – KYLE DENIS
back number’s “to new lovers” (Japanese title: “Atarashii Koibitotachi ni”) debuts at No. 1 on the Billboard Japan Hot 100, dated July 24, giving the veteran three-man band its fifth No. 1 on the tally and the first in almost five years and eight months.
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The “Suiheisen” (meaning “horizon”) trio’s latest hit is being featured as the theme song of the ongoing drama series called Umi no Hajimari (“beginning of the sea”) being aired on Fuji TV’s popular Monday nights at 9 p.m. time slot. The track tops downloads (24,432 units) and radio airplay, while coming in at No. 4 for streaming (7,532,578 weekly streams) and No. 32 for video views. The song collected 1.9 times more first-week downloads and 1.7 times more streams compared to the previous single by the J-pop band, “Fuyu to Haru” (“winter and spring”), released in January.
This is the fifth time back number has topped the Japan Hot 100, having previously scored No. 1s with “Omoidasenakunaru sonohimade” (“until the day I can’t remember”) in 2011, the band’s seasonal staple “Christmas Song” in 2015, “Boku no Namaeo” (“(you called) my name”) in 2016, and “Old Fashion” in 2018. Other songs in the band’s catalog are also on the rise, with “Suiheisen” rising a notch to No. 38, “Takaneno Hanakosan” moving 42-39, and “Hanataba” (“bouquet”) 84-82.
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Mrs. GREEN APPLE’s “Lilac” slips a notch to No. 2 after reaching No. 1 last week, but streams for the track are down only by about 5% from the previous week (No. 1 for the fifth week in a row for the metric), and the single is at No. 7 for downloads, No. 3 for video, and No. 12 for karaoke.
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AKB48’s “Koi Tsunjatta” bows at No. 3. The J-pop girl group’s 64th single, released four months after the previous single “Karakon Wink,” launched with 411,100 CDs in its first week, about 50,000 fewer than the predecessor’s 463,564 first-week copies.
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ONE OK ROCK’s “Delusion:All” jumps 21-7, breaking into the top 10. Streams for the Kingdom: Return of the Great General theme song are up by about 1.9 times the week before, radio up 7 times, and video up 1.5 times. Kocchinokento’s “Hai Yorokonde” also enters the top 10 for the first time, topping the video metric. Streams are up by about 1.2 times the week before (No. 16), while downloads and karaoke for the track also increased, with the former coming in at No. 12.
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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 15 to 21, here. For more on Japanese music and charts, visit Billboard Japan’s English Twitter account.
Valentino Merlo and The Planta hold strong atop the Billboard Argentina Hot 100 chart (dated July 29) as “Hoy,” their first collaboration, leads for a fourth week. It’s the third song to rule the 100-deep tally for at least four weeks or more in 2024. It trails Mesita, Nicki NIcole, Tiago PZK and Emilia’s “Una […]
After a record 10-week rule on the TikTok Billboard Top 50 chart by Tommy Richman’s “Million Dollar Baby,” the tally has its first new No. 1 since May: Blood Orange’s “Champagne Coast” jumps to the top of the list dated July 27.
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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 15-21. Activity on TikTok is not included in Billboard charts except for the TikTok Billboard Top 50.
“Champagne Coast,” originally released in 2011 as part of Blood Orange’s (real name Dev Hynes) album of the same year, Coastal Grooves, started at No. 46 on the TikTok Billboard Top 50 dated July 6 and has experienced a meteoric rise since, vaulting to No. 21 and then to No. 5 prior to its coronation.
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Multiple trends have highlighted the upsurge of “Champagne Coast.” One features creators uploading videos to the prompt “did we get rich?” or “did we hit the lottery?” in response to their younger self, and another argues that the uploader will stay single until the sound when they look into a prospective lover’s eyes sounds like “Champagne Coast.”
Concurrent with its TikTok Billboard Top 50 rule, “Champagne Coast” makes its first non-TikTok-based Billboard charts, paced by its No. 15 debut on the Hot Alternative Songs survey. In the week ending July 18, the tune earned 3.6 million official U.S. streams, up 17%, according to Luminate.
“Million Dollar Baby” falls to No. 2 on the TikTok Billboard Top 50, ensuring that its now-12-week history on the chart has found it go no lower than the top two, while LeoStayTrill and Mr Reload It’s “Pink Lemonade (Str8 Reload)” lifts 4-3, a new peak.
“Pink Lemonade” is mostly driven by lip-synch videos to the song, which was released in May. It boasts 1.5 million streams in the week ending July 18, up 4%.
BlackMayo’s “Jus’ Know” and Ian’s “Magic Johnson” round out the top five, followed by the week’s top debut in 2KE and 808iuli’s “X-Slide,” which bows at No. 6.
“X-Slide,” the uploads of which on TikTok are led by its ultra-slowed version (though its standard version has gotten significant play as well), is highlighted on TikTok by workout and fitness videos, as well as clips from video games and anime.
Three other songs hit the chart’s top 10 for the first time: Sevdaliza, Pabllo Vittar and Yseult’s “Alibi,” Clairo’s “Juna” and Charli XCX’s “Apple” round out the top 10 at Nos. 8-10, respectively.
“Alibi” has been paced by a dance trend on TikTok, one that began in the spring but has taken off in recent weeks. “Juna,” meanwhile, bows at No. 9 not long after the song’s July 12 premiere as part of Clairo’s new album, Charm; along with lip-synch clips and other general content, an underlying trend featuring the tune plays off its “you know me” verse with a photo explaining all of the user’s favorites and interests.
As for “Apple,” the song from Charli XCX’s much-talked-about 2024 album Brat has also benefited from a dance trend. It’s risen each week on Billboard’s Hot Dance/Electronic Songs chart since its debut on June 22 at No. 25, hitting a new peak of No. 7 on the latest tally thanks to 4.2 million streams in the week ending July 18, a boost of 55%.
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.
On July 25, 2009, Lady A’s “I Run to You” sprinted to No. 1 on Billboard’s Hot Country Songs chart, awarding the trio its first of six leaders. The act – Charles Kelley, Hillary Scott and Dave Haywood – penned the song with Tom Douglas, and Victoria Shaw and Paul Worley produced it.
“I Run to You” was released as the third single from Lady A’s debut self-titled album. Lead track “Love Don’t Live Here” hit No. 3 on Hot Country Songs, becoming the threesome’s first of 15 top 10s, and “Lookin’ for a Good Time” reached No. 11. The LP arrived at the Top Country Albums summit, giving the act its first of five leaders.
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Along with six No. 1s on Hot Country Songs, Lady A has sent 11 singles to the top of the Country Airplay chart, most recently “Champagne Night” in January 2021.
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The band’s hits include crossover smashes “Need You Now” and “Just a Kiss.” The former topped Hot Country Songs for a career-best five weeks beginning in November 2009, becoming the act’s second leader, and the latter led in 2011. Both reached the all-genre Billboard Hot 100’s top 10, climbing to Nos. 2 and 7, respectively.
In June, Lady A released its newest recording, a cover of “Stop Draggin’ My Heart Around,” on Petty Country: A Country Music Celebration of Tom Petty, which topped the Compilation Albums chart. Next up, the group is set to perform at the Ryman Auditorium in Nashville on Aug. 11.
Earlier this year, Lady A signaled that it is working on a new album. “We’re gettin’ our plans together,” Scott told Audacy’s Katie & Company. “We’ll just kind of see how it lays out, and then we’ll release the whole thing.”
“For us, we’re in such an appreciation spot in our career,” Kelley added. “We’re definitely going in a nostalgic direction. I think we tend to do that a lot. It’s a really warm record.”