Chart Beat
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Singer-songwriter Crowder ascends to No. 1 on Billboard’s Christian AC Airplay chart (dated Feb. 8) with “Somebody Prayed.” During the Jan. 24-30 tracking week, the single advanced by 3% in plays among the ranking’s reporting panel of stations, according to Luminate. Meanwhile, on the genre’s overall Christian Airplay chart, “Somebody Prayed” holds at its No. […]
Teddy Swims scores his first No. 1 on Billboard’s Top Album Sales chart (dated Feb. 8) as his latest album, I’ve Tried Everything But Therapy (Part 2) debuts atop the list with 26,000 sold in the U.S. in the week ending Jan. 30, according to Luminate. That marks Swims’ best sales week yet and first top 10, following three previous entries.
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Also shaking up the top 10: Kane Brown, FKA twigs and Central Cee all see their latest albums debut in the region, while blink-182’s chart-topping One More Time… reenters at No. 4 after a deluxe reissue.
Billboard’s Top Album Sales chart ranks the top-selling albums of the week based only on traditional album sales. The chart’s history dates back to May 25, 1991, the first week Billboard began tabulating charts with electronically monitored piece count information from SoundScan, now Luminate. Pure album sales were the sole measurement utilized by the Billboard 200 albums chart through the list dated Dec. 6, 2014, after which that chart switched to a methodology that blends album sales with track equivalent album (TEA) units and streaming equivalent album (SEA) units.
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Of Swims’ first-week sales, physical purchases comprise 19,000 (with 12,000 on CD and 7,000 on vinyl) and digital download purchases comprise 7,000. The set’s sales were bolstered by its availability across eight vinyl variants (including a signed edition), and two CD variants (including a signed edition). The effort also debuts at No. 1 on the Vinyl Albums chart, as well as No. 5 on the Indie Store Album Sales chart.
Kane Brown lands his fifth top 10-charting effort on Top Album Sales as The High Road drives in at No. 2 with 19,000 sold in its first week. The album’s first-week sales were aided by its availability across nine vinyl variants (including a signed edition), four CD variants (including a signed edition), and three digital download variants (a standard version, plus two with alternative cover art). On the Vinyl Albums chart, the set enters at No. 9.
FKA twigs notches her biggest sales week ever and first top 10, as Eusexua enters at No. 3 on Top Album Sales with nearly 12,500 sold. It also launches at No. 3 on Vinyl Albums and No. 2 on Indie Store Album Sales. The album’s opening-week sales were aided by its availability across six vinyl variants, signed and unsigned CDs, a cassette and two digital download variants (one an artist webstore exclusive with a bonus track).
Blink-182’s chart-topping One More Time… reenters Top Album Sales at No. 4 with a little over 11,000 sold (up 9,089%), following the set’s deluxe reissue on two vinyl variants and CD with additional bonus tracks. U.K. rapper Central Cee makes his Top Album Sales chart debut with the No. 5 entry of his new studio album Can’t Rush Greatness (nearly 10,000 sold).
Mac Miller’s Balloonerism falls 1-6 in its second week on Top Album Sales (9,000; down 78%), the Wicked film soundtrack dips 3-7 (nearly 9,000; down 8%), Stray Kids’ chart-topping HOP falls 4-8 (just over 8,000; down 9%), Gracie Abrams’ The Secret of Us falls 2-9 (8,000; down 62%) and Chappell Roan’s The Rise and Fall of a Midwest Princess falls 5-10 (7,000; down 11%).
Fresh off a Grammy sweep for “Not Like Us,” which won all five of its nominations, Kendrick Lamar piles on another win as his single “TV Off,” featuring Lefty Gunplay, darts to No. 1 on Billboard’s Rhythmic Airplay chart dated Feb. 8. The track jumps from No. 3 to crown the list after a 12% surge in plays that made it the most-played tune on U.S. panel-contributing monitored rhythmic radio stations in the tracking week of Jan. 24 – 30, according to Luminate.
“TV Off” detaches Tyler, The Creator’s “Sticky,” featuring GloRilla, Sexyy Red and Lil Wayne, from the Rhythmic Airplay summit after the latter’s one week in charge. Last week’s champ drops to No. 2 after a 2% decline in plays for the week.
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With “TV Off,” Kendrick Lamar achieves his eighth Rhythmic Airplay No. 1 and second of 2025, after “Squabble Up” ruled for two weeks in January. Here’s the updated review of his chart-topping collection on the radio ranking:
“Humble.,” three weeks at No. 1, beginning June 6, 2017“Loyalty.,” featuring Rihanna one, Sept. 30, 2017“Love.,” featuring Zacari, one, Dec. 30, 2017“Pray for Me,” with The Weeknd, two, April 18, 2018“Like That,” with Future and Metro Boomin, four, May 18, 2024“Not Like Us,” 12, June 15, 2024“Squabble Up,” two, Jan. 18, 2025“TV Off,” featuring Lefty Gunplay, one, Feb. 8, 2025
Featured artist Lefty Gunplay earns his first Rhythmic Airplay No. 1 through his maiden entry on the chart. The rapper is one of several California-bred rappers with supporting spots on GNX, Lamar’s 2024 album that includes “TV Off” and “Squabble Up.”
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Beyond the No. 1 title, Kendrick Lamar claims plenty more prime real estate on Rhythmic Airplay. The previous champ “Squabble Up” slides 2-3, while “Luther,” a collaboration with SZA, leaps 9-4 with a 12% improvement in plays. With the trio, Lamar is the first act — in a lead role — to have three of the top five concurrently on the Rhythmic Airplay chart. In total, five acts, including Lamar this week, have had three of the top five at the same time, but the other four – Ashanti, 50 Cent, T-Pain and Drake – all needed a combination of songs in both lead and featured billings.
Moreover, the Pulitzer Prize-winning Lamar enjoys a fourth appearance in the week’s top 10 – for a second week in a row – with a different collaboration with SZA, “30 for 30,” which repeats at its No. 10 peak. A week ago, he became the fifth act to have four of the top 10 titles concurrently, and the first ever with four of the top 10 in a lead role. The only other acts to claim four of the top 10 at the same time are 50 Cent, T-Pain, Lil Wayne and Drake.
While “TV Off,” “Squabble Up” and “Luther” all appear on Lamar’s GNX, “30 for 30” is from SZA’s SOS Deluxe: LANA edition of her chart-topping album.
Elsewhere, “TV Off” holds at its No. 10 best on the Mainstream R&B/Hip-Hop Airplay chart (up 3% in weekly plays) and slides 2-3 from its peak on Rap Airplay, though it added 7% in weekly audience listenership. On the all-genre Radio Songs chart, “TV Off” lands a third nonconsecutive week at its No. 30 high, with an 8% boost to 21 million audience impressions across all formats.
Bad Bunny adds his 26th No. 1 on Billboard’s Latin Airplay chart with “El Clúb,” which lifts 2-1 to lead the Feb. 8-dated ranking. It’s the first song from Debí Tirar Más Fotos to top the overall radio ranking. “El Clúb” reigns after a 5% gain in audience impressions, to 9.2 million, earned in the […]
After being one of the most frequent visitors to the top of the Billboard Hot 100 around the turn of the 2020s, Travis Scott is back there for the first time in nearly half a decade this week with his new single “4×4.”
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The new single, whose net proceeds Scott announced will benefit Direct Relief’s California Wildfire Response Fund, debuts atop the Hot 100 this week, making for Scott’s fifth career No. 1 on the chart. It’s also the first rap single to top the chart in 2025, following four weeks of Lady Gaga & Bruno Mars’ ‘Die With a Smile” reigning.
How did “4×4” get over the top on the chart? And what does the song tell us about where he might go next as an artist? Billboard staffers discuss these questions and more below.
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1. Though Travis Scott topped the Hot 100 three times at the turn of the decade, this is his first time back to No. 1 since. On a scale from 1-10, how big a deal is “4×4” debuting at No. 1 for him?
Kyle Denis: Probably a 6? We’ve seen this film before with Travis seemingly coming out of nowhere to debut atop the Hot 100 with a boatload of pure sales. If anything, he’s probably a bit annoyed that his true smashes and signature songs – like “Goosebumps” or “Fein” — keep missing the top spot in favor of loosies like this one.
Carl Lamarre: 8.5. Whenever an artist of Travis’ caliber lands a No. 1 song, it’s a noteworthy achievement, regardless of the circumstances. Travis, who’s evolved into a hip-hop supernova since 2018’s Astroworld, sees anything less than a chart-topping single or album as a flop. Despite his busy tour schedule, various business ventures, and preparation for his Coachella performance, it’s a relief for Team Travis to know that musically, he’s still in high demand, even after a two-year hiatus since Utopia.
Jason Lipshutz: Fittingly, a 4. Travis Scott carries the distinction of charting higher with his minor hits than with most of his signature songs — think of how “The Scotts” and “Franchise” brought him to the top of the Hot 100, for instance, while “Goosebumps” and “FE!N” did not. We’ll see how “4×4” continues to perform on the Hot 100, but considering that this is a standalone single from an artist with multiple No. 1 hits whose commercial power was never in doubt, this chart-topping debut represents another feather in Scott’s cap rather than a monumental shift in mainstream appeal.
Michael Saponara: 4. I don’t think he necessarily needed any validation, but it has been over four years since his last No. 1 hit and “4×4” is the first since the Astroworld Festival tragedy. We’ll see if it infiltrates radio and can last on the charts heading into his Coachella performance in April.
Andrew Unterberger: Yeah it’s a 5 at most. Never a bad thing to have another No. 1 on the roster but what are the chances this song is actually better-remembered or more meaningful to Travis’ catalog than “FE!N” (Hot 100 peak: No. 5) five years from now? Not particularly high I’d say.
2. What do you see as being the biggest factor in “4×4” getting over the top where his other singles of recent years have generally fallen short?
Kyle Denis: Travis has been teasing this song for months, so there was fervent anticipation across his fanbase. Snippets have been circulating since last September, and another teaser dropped during the Oct. 18 episode of WWE SmackDown. Two weeks later (Oct. 30), Scott performed the song at the last show of his $209 million-grossing Circus Maximus tour, and then again during his headlining set at Rolling Loud Miami’s tenth anniversary (Dec. 14). At the top of the new year (Jan. 6), Scott appeared in-person at WWE Raw and confirmed that “4×4” would be the program’s official opening theme. Later that month (Jan. 20), he played the song at the 2025 College Football Playoff National Championship halftime show, sharing a link to pre-save the song shortly after.
We’re already well acquainted with the buying power of Scott’s fanbase (this is also his first solo post-Utopia release), but with the “4×4” release, he also explicitly courted fans across two sports that are having major moments in American culture right now. Football, of course, is always the talk of the town, but between last Christmas’ Beyoncé Bowl, Kendrick Lamar’s forthcoming halftime show, and the Taylor Swift and Travis Kelce of it all, it’s smart to align yourself with American football in some way. Similarly, WWE Raw’s move to Netflix was a milestone moment for the evolution of live events and on-demand streaming services. Most importantly, sports fans put their money where their mouths are; they buy game tickets, jerseys, caps, etc. Selling pure copies of music feels like a Herculean task nowadays, but Travis Scott has cracked several codes.
Carl Lamarre: Quite frankly, the record is just straight heat. Travis hasn’t had a bulletproof single since “Sicko Mode,” and that song itself is forever entrenched in the Hip-Hop Hall of Fame when speaking of hits. So, understandably, it’s hard to topple that kind of success, knowing how much of an explosion “Sicko” made circa 2018. As for “4×4”, the buzz was created before the song’s release. He teased the initial record during his campaign with WWE months back, then performed the song at halftime for the College Football Playoff Championship game before ultimately unleashing the video. By creating a feverishly high demand for the song, Travis’ supporters came in droves when it was time to cheer on La Flame.
Jason Lipshutz: Fan excitement. Sure, it’s easy to point to the oversized sales numbers that helped “4×4” top the Hot 100 in the same way that Days Before Rodeo was able to top the Billboard 200 last year, but Scott boasts the rabid base to justify those numbers and push more minor projects to the top of the chart. And while “4×4” isn’t functioning like a durable hit on streaming services yet, it’s also Scott’s first solo single since 2023, and one that fans feverishly wanted to be officially released for months. This Hot 100 debut doesn’t happen without that type of widespread listenership.
Michael Saponara: Hype. He’s been teasing “4×4” for a while in multiple forums, whether that be his DJ sets or a performance debut atop Atlanta’s Mercedes-Benz Stadium as part of the College Football Playoff National Championship halftime show. The Tay Keith-produced track also made noise in the wrestling world while serving as the official theme song of Raw when it made the jump to Netflix at the top of 2025.
Andrew Unterberger: Gotta be the charity element. The hype helped, of course, but the sales number this song posted means fans really voted for this one with their wallets — and if they knew their funds were going to a cause as meaningful as L.A. fire relief, I’m sure that swayed a lot who were on the fence about whether or not they really needed to purchase the physical edition.
3. Of his three 2019-20 No. 1s, the only one that showed particular chart endurance was “Highest in the Room.” Do you see “4×4” as being that type of hit, or more of a quick-fader like “The Scotts” or “Franchise?
Kyle Denis: I anticipate it ending up somewhere in between. With the WWE Raw assists, I see “4×4” having more staying power than “The Scotts,” but it’s also not Travis’ best effort as far as standalone singles go… so I wouldn’t expect it to truly give “Highest” a run for its money chart-wise.
Carl Lamarre: Travis’ partnership with the WWE should help keep the song moving, as the track is now the theme song for Monday Night Raw. For my hip-hop and wrestling enthusiasts, that’s a big deal for Team Travis, as the latest Netflix deal between WWE and the streaming conglomerate means a bigger and newer audience for both parties. So, because of that, and seeing how he’s taken the record into different sectors, like the wrestling world and the college football arena, I’ll give it up the leg up over “Franchise” and “The Scotts” when speaking of staying power.
Jason Lipshutz: I’m guessing it will be somewhere in between — not a months-long hit, but not a forgotten piece of chart trivia, either. “4×4” sounds designed for live-show enormity, its orchestral thump and gargantuan drums slotting in nicely during the maximalist stretch on his set list. That will help “4×4” endure in fans’ minds, regardless of how many weeks the song logs on the Hot 100.
Michael Saponara: If this was a scale, I’d be leaning more toward the “Highest in the Room” side of things, but I don’t think it will match the longevity of “Highest” – that’s one of Trav’s signature tracks. However, “4×4” should have more legs than “The Scotts” or the gaudy “Franchise,” which burned bright and burned quickly during the COVID-19 pandemic when Scott’s rage was blanketed.
Andrew Unterberger: The song is already out of the top 50 on both Spotify’s Daily Top Songs USA and Apple Music’s real-time chart, so I’m guessing it’s gonna be more of a quick fader.
4. Do you think “4×4” points to any particular new evolution within Travis Scott’s sound or style for where he may go next, post-Utopia? Or is it more likely just a one-off not meant to signal much about his future direction?
Kyle Denis: I get one-off vibes from this. It’s a bit weak lyrically, but I don’t mind how the production feels like an offshoot of his Astroworld soundscape. He made some really nice choices with the background vocals too.
Carl Lamarre: This is a one-off situation for Travis. The guy is always working and experimenting. He’s still savoring Utopia’s wins and the impact it created over the last two years after its release. Consider this his victory lap, especially since he’s now a stadium-level artist, courtesy of his fans.
Jason Lipshutz: The latter. There’s no indication that “4×4” precedes a new Travis Scott project, and sonically, the song fits neatly into what he was accomplishing with Utopia. Considering the five-year gap between Astroworld and Utopia, we may be a ways away from a proper new Scott album and the stylistic shift that it may signify, so “4×4” likely represents a placeholder until that new era comes.
Michael Saponara: This feels like more of a one-off to set the tone for the year, although I wish it was a jetsetter into La Flame’s next era. I’d expect that to come around Coachella. The marching band horns aspect is experimental for Trav’s sound – I don’t think we’ve heard him utilize that mixed in with his trap drums on a track before.
Andrew Unterberger: I could see it leading to a more lush, string-based sound on his next album — the success of Bryson Tiller’s “Whatever She Wants” and 21 Savage’s “Redrum” set the table for that already a little bit last year. I hope so, it’s a good sound for Travis.
5. Travis Scott is the first rapper to top the Hot 100 in 2025 — who do you predict will be the second?
Kyle Denis: Probably Kendrick with whatever song gets the biggest boost from his Super Bowl halftime show. If not him… it could very well be Drake, ironically; it’s not implausible that one of the songs from his forthcoming Valentine’s Day joint album with Partynextdoor sneaks a week atop the Hot 100 when the full set drops on Feb. 14.
Carl Lamarre: Dare I say: Drizzy Drake Rogers. Think about it. New album with PND next week? All eyes are on him after Kendrick’s Grammy sweep and upcoming Super Bowl appearance. This is a lay-up for him.
Jason Lipshutz: Kendrick Lamar, particularly if “Luther” receives a prime slot in the Super Bowl halftime show. Due to the Christmas music onslaught beginning in November, “Squabble Up” remains the only GNX song to top the Hot 100. That feels wrong! And I believe it won’t be the case for much longer.
Michael Saponara: PUT THAT GELO ON!
Andrew Unterberger: How fun is it that the answer here is almost certainly either Drake or Kendrick Lamar? (Or maybe not that fun, depending.)
FKA Twigs scores her fourth career No. 1 album on Billboard’s Top Dance Albums chart (dated Feb. 8), thanks to her new LP Eusexua.
Released Jan. 24 via Young/Atlantic/AG, the album opens with 21,000 equivalent album units earned in the week ending Jan. 30 in the U.S., according to Luminate. Of that sum, 12,000 were in pure sales, generating a No. 3 debut on Top Album Sales. Vinyl sales were particularly high for the album — 7,000 — helping the album also debut at No. 3 on Vinyl Albums.
FKA Twigs previously led Top Dance Albums with LP1 in 2014, Magdalene in 2019 and Caprisongs in 2022.
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Her four No. 1s tie her with Aphex Twin, Lindsey Stirling, M.I.A., Marshmello and Pet Shop Boys for the fifth-most No. 1s in the 24-year history of Top Dance Albums, after only Lady Gaga and Louie DeVito (seven each), and Daft Punk and Chainsmokers (six each).
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Eusexua, notably, ends the reign of Charli XCX’s Brat on Top Dance Albums. Brat spent 33 weeks at No. 1 — encompassing the entirety of its chart run — and dips to No. 2 with 16,000 units.
Eusexua concurrently starts at No. 24 on the Billboard 200, becoming the highest charting album of FKA Twigs’ career.
She also debuts five songs from the album on Billboard’s recently launched Hot Dance/Pop Songs chart: “Childlike Things” featuring North West (No. 6), “Striptease” (No. 9), “Eusexua” (No. 10), “Girl Feels Good” (No. 12) and “Perfect Stranger” (No. 15).
Billboard launched the 15-position Hot Dance/Pop Songs chart beginning on the Jan. 18-dated rankings. The chart ranks the most popular current dance/pop songs, featuring titles with dance-centric vocals, melody and hooks, by artists not traditionally rooted in the dance/electronic genre. That same week, the publication revamped its Hot Dance/Electronic Songs chart. The 25-position list ranks the most popular current dance/electronic songs, billed to DJs, producers and long-standing core artists in the dance/electronic genre, with an emphasis on electronic-based production.
On Monday morning (Feb. 3), Beyoncé announced details for her Cowboy Carter Tour. Following shortly after 2023’s record-breaking Renaissance World Tour, she could add another $300 million to her career Boxscore total.
Like most weeks, it’s a good week to be Beyoncé. Last night, she won her record-extending 33rd, 34th and 35th Grammys, including album of the year for Cowboy Carter. But one night earlier, she teased a 2025 tour for her genre-busting album, and the morning after, she confirmed it with dates and venues.
Cowboy Carter Tour will take Beyoncé across the U.S. and over to Europe, just like the routing for the Renaissance World Tour. But while her 2023 trek took a relatively traditional route through 14 European cities and then another 25 in North America, her upcoming schedule is consolidated into a series of multi-night stops in major markets.
First, the tour will begin with four shows at SoFi Stadium in Inglewood, Calif., less than a half-hour drive from downtown Los Angeles. Then, two nights in Chicago and four in New Jersey (New York market). Next, Beyoncé will fly to London for four shows and to Paris for two. Finally, she’ll return Stateside for double-headers in Houston, Washington, D.C., and Atlanta.
With an initial routing of 22 shows, the Cowboy Carter Tour will be Beyoncé’s briefest solo headline tour yet, but that doesn’t mean it won’t register mammoth grosses. Using the same average ticket prices and per-show attendance from each city’s stop on the Renaissance World Tour, the 2025 trek would sprint to a finish of $294.3 million and almost 1.2 million tickets. Just two years removed from her last tour, a 4% inflation bump would bring her upcoming stint to $306 million.
But just as the initial announcement for the Renaissance World Tour grew from 41 shows to a final count of 56, additional dates for Cowboy Carter Tour could push its final gross further beyond the $300 million mark. And like its predecessor, its actual impact will go far beyond standard ticket sales.
By playing 22 shows in just eight markets over two and a half months, Cowboy Carter Tour reframes Beyoncé’s touring schedule and capitalizes on some of the frenzied energy that followed the Renaissance World Tour. During that trek, it was well–documented that fans were traversing across city, state and country lines, turning Renaissance shows into festival-style destinations. From travel and lodging to wardrobe and entertainment, the tour boosted local economies beyond the purchase of a concert ticket.
Channeling the scale of a world tour to eight major cities on either side of the pond, Cowboy Carter Tour teases each stop as a destination event. It makes sense, then, that Live Nation partner Vibee is providing curated experience packages that pair concert tickets with hotel stays and other VIP add-ons. While the company’s homepage shows similar packages for artist residencies like Bad Bunny’s upcoming 21 shows in Puerto Rico and various artists at Sphere in Las Vegas, Cowboy Carter Tour is the only proper tour featured. Further signaling a new era of concerts that double as immersive experiences, it’s another way to efficiently meet growing demand in the post-pandemic touring landscape.
Beyoncé’s Boxscore history has continued to bloom into the new decade. The Renaissance World Tour finished with $579.8 million and 2.8 million tickets in 56 shows. That’s more than double the take of 2016’s The Formation World Tour and 2018’s On the Run II Tour with Jay-Z ($256.1 million and $253.5 million, respectively), both of which had improved upon The Mrs. Carter Show World Tour ($211.9 million in 2013-14) and the original On the Run Tour ($109.6 million in 2014).
By design, simply due to the limited number of scheduled tour dates, it’s unlikely that Beyoncé will continue to one-up herself with Cowboy Carter Tour, but it will push her career totals to new heights. Dating back to the 2004 Verizon Ladies First Tour with Alicia Keys and Missy Elliott, and her first solo outing with 2007’s The Beyoncé Experience, the pop-dance-R&B-country superstar has grossed $1.3 billion and sold 11.6 million tickets over 431 reported concerts. By year’s end, those totals should climb past $1.6 billion and 12.8 million tickets.
Cowboy Carter Tour follows Beyoncé’s album of the same name. In addition to its Grammy win for album of the year, it made her the first Black artist to win best country album. Upon its release last Spring, the set debuted atop the Billboard 200 with 407,000 equivalent album units earned, according to Luminate, marking Queen Bey’s biggest week, by units, since Lemonade eight years prior. Cowboy Carter includes “Texas Hold ‘Em,” which topped the Billboard Hot 100 for two weeks and Hot Country Songs for 10 frames.
ROSÉ and Bruno Mars’ “APT.” dominates the Billboard Global Excl. U.S. chart for a record-tying 14th week. The team-up, which in November debuted as the stars’ second leader each on the list, matches Mariah Carey’s “All I Want for Christmas Is You” for the longest command in the chart’s four-year-plus history. The latter has run up its reign via at least one week at No. 1 in each holiday season since the survey began.
“APT.” concurrently rebounds for a 12th week at No. 1 on the Billboard Global 200 chart.
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Plus, Lola Young’s “Messy” reaches the top five, jumping to No. 5, on each ranking.
The Billboard Global 200 and Global Excl. U.S. charts rank songs based on streaming and sales activity culled from more than 200 territories around the world, as compiled by Luminate. The Global 200 is inclusive of worldwide data and the Global Excl. U.S. chart comprises data from territories excluding the United States.
Chart ranks are based on a weighted formula incorporating official-only streams on both subscription and ad-supported tiers of audio and video music services, as well as download sales, the latter of which reflect purchases from full-service digital music retailers from around the world, with sales from direct-to-consumer (D2C) sites excluded from the charts’ calculations.
“APT.” holds atop Global Excl. U.S. with 108 million streams (down 3% week-over-week) and 10,000 sold (down less than 1%) outside the U.S. Jan. 24-30.
Lady Gaga and Mars’ “Die With a Smile” rises 3-2 on Global Excl. U.S., following eight weeks at No. 1 starting in September, and Bad Bunny boasts two songs in the top five: “DtMF,” down to No. 3 from its No. 2 high, and “BAILE INoLVIDABLE,” which holds at its No. 4 best.
Elsewhere, Lola Young’s first Global Excl. U.S. top 10, “Messy,” surges 8-5 with 38.7 million streams (up 8%) and 7,000 sold (up 35%) outside the U.S.
Meanwhile, “APT.” rebounds 2-1 on the Global 200 with 126.2 million streams (down 3%) and 17,000 sold (essentially even) worldwide Jan. 24-30.
“Die With a Smile” ascends 3-2 on the Global 200, following eight weeks at No. 1 beginning in September, while Bad Bunny places at No. 3 with “DtMF,” down from No. 1 the past two weeks, and “BAILE INoLVIDABLE,” steady at its No. 4 high.
Plus, “Messy” bounds 9-5 with 53.9 million streams (up 11%) and 14,000 sold (up 42%) worldwide, boosted by Young’s performance of the song and her interview on NBC’s The Tonight Show Starring Jimmy Fallon on Jan. 21.
The Billboard Global 200 and Billboard Global Excl. U.S. charts (dated Feb. 8, 2025) will update on Billboard.com tomorrow, Feb. 4. For both charts, the top 100 titles are available to all readers on Billboard.com, while the complete 200-title rankings are visible on Billboard Pro, Billboard’s subscription-based service. For all chart news, you can follow @billboard and @billboardcharts on both X, formerly known as Twitter, and Instagram.
Luminate, the independent data provider to the Billboard charts, completes a thorough review of all data submissions used in compiling the weekly chart rankings. Luminate reviews and authenticates data. In partnership with Billboard, data deemed suspicious or unverifiable is removed, using established criteria, before final chart calculations are made and published.
Shaboozey’s “A Bar Song (Tipsy)” tends to a 27th week at No. 1 on Billboard’s Radio Songs chart — breaking out of a tie with The Weeknd‘s “Blinding Lights” for the most time spent at No. 1 in the survey’s history.
“A Bar Song (Tipsy)” previously logged a record-tying 19 weeks at No. 1 on the streaming-, airplay- and sales-based Billboard Hot 100, beginning last July.
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The track holds atop Radio Songs with 63.3 million in audience Jan. 24-30, essentially even week-over-week, according to data tracker Luminate. The chart reflects all-format airplay on more than 1,000 monitored radio stations; Pop Airplay chart reporter KDHT (Hits 95.7) Denver has played the song the most to date, more than 4,000 times.
Here’s a rundown of the longest-leading Radio Songs No. 1s, dating to the chart’s December 1990 start:
27 weeks, “A Bar Song (Tipsy),” Shaboozey, beginning Aug. 10, 2024
26, “Blinding Lights,” The Weeknd, April 18, 2020
18, “Flowers,” Miley Cyrus, Feb. 25, 2023
18, “Iris,” Goo Goo Dolls, Aug. 1, 1998
16, “Girls Like You,” Maroon 5 feat. Cardi B, Aug. 4, 2018
16, “We Belong Together,” Mariah Carey, May 28, 2005
16, “Don’t Speak,” No Doubt, Dec. 7, 1996
15, “Easy On Me,” Adele, Dec. 4, 2021
14, “High Hopes,” Panic! at the Disco, Dec. 1, 2018
14, “No One,” Alicia Keys, Nov. 3, 2007
14, “Because You Loved Me,” Celine Dion, April 13, 1996
“A Bar Song (Tipsy),” on American Dogwood/EMPIRE and with country radio promotion by Magnolia Music, dominated the Country Airplay chart for seven weeks beginning last August, the longest No. 1 run for a first entry, and ranks in the top 10 for a record-extending 31st week.
The song also made history as the first to hit the top five (or even top 10) on Country Airplay, Pop Airplay, Adult Pop Airplay (two weeks at No. 1 on each chart) and Rhythmic Airplay (No. 3 peak).
“There were many, many doubters of our ability to work this record at radio,” EMPIRE COO Nima Etminan told Billboard after “A Bar Song (Tipsy)” hit No. 1 on the Hot 100. “The industry loves telling independents that there’s a ceiling to what they can do on their own, and this was no different. We were told it can’t be done, and, as we like to do, we proved them wrong. We’ve assembled a fantastic team that we had full faith in – and they delivered.”
All charts (dated Feb. 8, 2025) will update on Billboard.com tomorrow, Feb. 4. For all chart news, you can follow @billboard and @billboardcharts on both X, formerly known as Twitter, and Instagram.
Travis Scott’s “4X4” debuts at No. 1 on the Billboard Hot 100 songs chart.
The track, released Jan. 24, marks the superstar rapper’s fifth Hot 100 leader, following “Franchise,” featuring Young Thug and M.I.A. (one week at No. 1 in October 2020); “The Scotts,” billed to The Scotts, Travis Scott and Kid Cudi (one, May 2020); “Highest in the Room” (one, October 2019); and “Sicko Mode” (one, December 2018). All have debuted at No. 1 except for “Sicko Mode,” which started at No. 4.
Scott appeared at the College Football Playoff National Championship halftime show on Jan. 20, when he debuted “4×4” atop Atlanta’s Mercedes-Benz Stadium. All proceeds from the song’s CD single, among other of his offerings, benefit Direct Relief’s California Wildfire Response Fund.
Also notably, Shaboozey’s “A Bar Song (Tipsy),” at No. 5 on the Hot 100 after a record-tying 19 weeks at No. 1, rewrites the longest reign ever on the Radio Songs chart – 27 weeks – breaking out of a tie with The Weeknd’s “Blinding Lights.”
The Hot 100 blends all-genre U.S. streaming (official audio and official video), radio airplay and sales data, the lattermost metric reflecting purchases of physical singles and digital tracks from full-service digital music retailers; digital singles sales from direct-to-consumer (D2C) sites are excluded from chart calculations. All charts (dated Feb. 8, 2025) will update on Billboard.com tomorrow, Feb. 4. For all chart news, you can follow @billboard and @billboardcharts on both X, formerly known as Twitter, and Instagram.
Luminate, the independent data provider to the Billboard charts, completes a thorough review of all data submissions used in compiling the weekly chart rankings. Luminate reviews and authenticates data. In partnership with Billboard, data deemed suspicious or unverifiable is removed, using established criteria, before final chart calculations are made and published.
‘4X4’ Streams, Airplay & Sales