Chart Beat
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One of hip-hop’s earliest hitmakers is back on the Billboard charts, returning with his first new song to reach the rankings in more than two decades. Young MC’s “Fun Part,” released on the rapper’s Disco Theory label, lands a No. 38 debut on the Rhythmic Airplay chart and gives its creator his first visit to a Billboard chart with a new song since “Heatseeker” in 2002. Among other placements, “Heatseeker” reached No. 6 on the Hot Singles Sales chart and No. 92 on the Hot R&B/Hip-Hop Songs list.
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“It feels exhilarating and nerve-wracking at the same time,” Young MC tells Billboard upon his new track’s entrance to the charts. “On the one hand, it’s a validation for all the hard work I’ve put in over decades to grow as an artist and a producer. But at the same time, I feel the pressure to keep the momentum going. I’m looking forward to the challenge.”
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Born Marvin Young, the artist who later became Young MC first came to prominence as a songwriter on two 1989 hits for Tone-Loc that broke barriers as some of hip-hop’s earliest crossover success stories on the charts. “Wild Thing” soared to No. 2 on the Billboard Hot 100 – at the time, the genre’s highest peaking hit on the flagship chart – while “Funky Cold Medina” nearly duplicated the feat, reaching a No. 3 best.
That same year, the rapper also touched a third classic, but this time, as the main attraction. “Bust a Move,” which features the Red Hot Chili Peppers’ Flea on drums, flew to No. 7 on the Hot 100 and won a Grammy Award for best rap performance. The single has lived on with countless uses in pop culture, including in films such as Dude, Where’s My Car? and The Blind Side, a 1997 commercial for Priceline in which William Shatner recited some of the song’s lyrics, and moments on TV’s Glee and The Big Bang Theory.
Thirty-five years on from his first hit, landing a new one in a new generation of hip-hop isn’t lost on the pioneer. “It’s wild to think that many of the people listening to ‘Fun Part’ weren’t even born when I released ‘Bust a Move’,” he says. “I’m finding the delicate balance of appealing to them while not alienating those people who were fans of ‘Bust a Move’ when it was out and still come to shows to see it today.”
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An underlying reason for Young MC’s return? Last year’s celebrations surrounding the 50th anniversary of hip-hop’s creation, dating to its accepted 1973 origin in New York City, and virtually every major music publication and organization’s salute to the genre’s expansion from a potential fad to a world-conquering sound. “I can only speak for myself, but I was impacted by seeing all the Hip-Hop 50 stuff flying around. I reflected on what I had personally given to hip-hop during the 50 years and if I could possibly give more.”
And he isn’t the only one of his generation back in the game. LL Cool J wrapped a decade-long hiatus from music with the September release of The Force album, his first since 2013. Its current single, the Eminem-assisted “Murdergram Deux,” begins at No. 39 on Rhythmic Airplay, directly below “Fun Part.” The dual resurgences, to Young MC, feel connected. “I can relate to all the legacy artists putting out new music today – for most of us, it’s a ‘want to’ more than a ‘have to,’” he explains.
But at least the response to his latest song gives him peace over those concerns about whether he still had more to offer: “’Fun Part’” proves to me that the answer to that question is a resounding ‘yes!’”
Yeah Yeah Yeahs’ “Maps” becomes the fifth song in the 13-month history of the TikTok Billboard Top 50 chart to reign for at least four weeks, spending its fourth straight frame at No. 1 via the Nov. 2-dated ranking, while A.J. & Big Justice’s social media smash “We Bring the Boom” is one of the week’s top debuts.
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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 Oct. 21-27. Activity on TikTok is not included in Billboard charts except for the TikTok Billboard Top 50.
“Maps” joins similar reigns by Alek Olsen’s “Someday I’ll Get It” and Flo Milli’s “Never Lose Me,” both in 2024, for four weeks each; Mitski’s “My Love Mine All Mine” ruled for six weeks in 2023; while the all-time leader, Tommy Richman’s “Million Dollar Baby,” secured the top spot for 10 weeks beginning in May.
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Released in 2003 on Yeah Yeah Yeahs’ debut LP Fever to Tell, “Maps” reigns via a pair of trends on TikTok, one involving a dance while the other has creators using a filter to remove their facial features and have them cascade back down onto their countenance in the clip. While the original version of the song has been widely used, a sped-up remix has also contributed to the success of “Maps” on the chart.
The top three of the TikTok Billboard Top 50 remains intact from the previous week (Oct. 26), with Alphaville’s “Forever Young” and Akon’s “Akon’s Beautiful Day” following at Nos. 2 and 3, respectively. While it’s Akon’s second week at No. 3, Alphaville has now stood at No. 2 for three weeks in a row and hasn’t fallen below No. 3 since mid-September.
Vines’ “Being Loved Isn’t the Same As Being Understood,” following its No. 8 debut on the Oct. 26 survey, crashes the party as the lone new entrant in the top five, jumping to No. 4 in week two. The song, self-released in March by the artist known also as Cassie Wieland, continues its ascent thanks to a trend on TikTok where the user posts about either themselves or someone they know, usually as a photo collage, to “sum up the kind of person” they are or were. Some of the top-performing clips discuss a person who has since died.
“Being Loved Isn’t the Same As Being Understood” sported a 99% leap in official U.S. streams to 116,000 in the week ending Oct. 24, according to Luminate.
Gigi Perez’s “Sailor Song,” following its first week in the top 10 (No. 10) on the Oct. 26 chart, also rises four spots, leaping 10-6. The 2024 tune, which leapt another 4% in streams to 13.5 million in the week ending Oct. 24, has benefited from a variety of trends since it first began exploding on TikTok in the summer, often relationship- and romance-related.
It’s followed by Oscar Maydon and Fuerza Regida’s “Tu Boda,” which vaults 14-7, its first week in the top 10. The song has exploded on TikTok – as well as on streaming services – in recent weeks, particularly following the release of its music video on Oct. 14.
“Tu Boda” concurrently catapults 157% in streams to 15.2 million in the week ending Oct. 24, enough to blast the song to a No. 23 debut on the Billboard Hot 100.
The tune’s TikTok ecosystem includes edits and trends involving the 2005 movie Corpse Bride, plus lip-synch content.
The Cramps’ cover of “Goo Goo Muck” sports the week’s top TikTok Billboard Top 50 debut, starting at No. 9. Released in 1981 on the rockers’ album Psychedelic Jungle, the tune returned to prominence in 2022 when it was featured in the Netflix series Wednesday.
In recent weeks on TikTok, “Goo Goo Muck” has been embraced in a link to its status as a Halloween-time standard, following a trend where the user is running from danger but then runs back when realizing their pursuer is attractive, often starting to take off their shirt in the process.
Gabriela Bee’s “Maybe” is the third new entrant into the top 10, rounding it out at No. 10 after its No. 11 debut on Oct. 26. Usages of the song revolve around its “Maybe one day I’ll get married/ And you’ll be my maid of honor” lyric, with creators either remembering their own weddings or noting who they’d like to be the maid of honor at their wedding.
And A.J. & Big Justice bring the boom to the TikTok Billboard Top 50, with “We Bring the Boom!” debuting at No. 15. The father-and-son TikTok stars released what’s become their theme song to streaming services in July, and the tune has only risen as prominence as the duo (plus others often featured in their uploads, from family members to The Rizzler) has gained in popularity on the platform, currently boasting over 2 million followers.
The majority of the top-performing videos using “We Bring the Boom!” are from the A.J. & Big Justice account itself, though others have gotten in on the song’s accompanying dance as well — including professional athletes in game.
In the tracking week ending Oct. 24, “We Bring the Boom!” earned 327,000 streams in the U.S., up 24%.
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.
Tyler, the Creator’s new era is already off to a strong start, as the rapper’s “Noid” storms onto Billboard’s Hot R&B/Hip-Hop Songs chart (dated Nov. 2) at No. 9, despite partial availability for the chart’s tracking week. The song was released Monday, Oct. 21, allowing for roughly four days of eligibility for the streaming, sales […]
BLACKPINK’s Rosé is crowned on Australia’s singles chart for the first time, a feat that etches her name in the history books.The New Zealand-born, Australia-raised superstar singer ends Sabrina Carpenter’s reign on the ARIA Single Chart, as “APT.” (via Atlantic/Warner), her collaboration with Bruno Mars, debuts at No. 1.With that, Rosé becomes the first solo female K-pop star to top the ARIA Chart. She’s just the second solo artist from South Korea to climb the chart ladder after PSY’s “Gangnam Style” spent six weeks on top back in 2012.
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Born in Auckland and raised in Melbourne, Rosé (born Roseanne Park) made the move to South Korea aged 15, when the world of K-pop came calling. At her father’s suggestion, she auditioned for South Korean music company YG Entertainment. It was a shrewd move. The rest is music history.BLACKPINK – comprising Rosé, Jisoo, Jennie and Lisa — smash records for fun. In 2022, BLACKPINK set the mark for the highest-debuting single by a K-pop group in ARIA Chart History when “Pink Venom” hit No. 1, beating the No. 2 start for BTS’ 2020 hit “Dynamite.”BLACKPINK’s two studio albums, The Album (from 2020) and Born Pink (2022), both debuted and peaked at No. 2 on the Australian albums survey. In support of Born Pink, the pop group last year embarked on an east coast arena tour of Australia. “APT.,” a reference to the Korean drinking game aparteu, or apartment in English, is the first single from Rosé’s debut album Rosie, which lands on Dec. 6. The track lands at No. 1 on both the Billboard Global 200 and Billboard Global Excl. U.S. charts, and arrived at No. 4 on the Official U.K. Singles Chart, setting a new record in the process.
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In the United States, “APT.” powers to No. 8 on the Billboard Hot 100. That too is a history-making achievement; Rosé becomes the first female solo artist prominent in K-pop (Korean pop) to hit the top 10.
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These artists scared up cinematic hits on the Boo-board Haunted 100.
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A little over eight months ago, Olivia Rodrigo had only headlined theaters. Flash forward to today, and she has sold out arenas on four continents and staged one of the year’s biggest tours. The pop phenom wrapped the Guts World Tour last week, bringing in $184.6 million from over 1.4 million tickets sold, according to figures reported to Billboard Boxscore.
The Guts cycle began in June 2023, when Rodrigo unleashed “Vampire,” the Grammy Award-nominated single that topped the Billboard Hot 100 for two weeks. The album followed, debuting atop the Billboard 200, landing its entire track list on the Hot 100, and earning two Grammy nominations of its own. After hedging bets with a theater tour following 2021’s gargantuan debut with Sour, the stage was set for an upgrade to arenas now that the sophomore slump had been avoided.
Rodrigo kicked off the Guts World Tour on Feb. 23 at Acrisure Arena in Palm Desert, Calif. That show sold 9,998 tickets, marking the smallest attendance for any stop on the tour. Things picked up quickly, ending her first North American leg with four shows at New York’s Madison Square Garden, earning $10 million from 57,900 tickets between April 5-9.
Though the New York run stands as the highest-grossing engagement of the Guts World Tour, that was not the end of Rodrigo’s run. She played 29 shows across 19 cities in Europe before returning to the U.S. and Canada for another 20 dates. To cap things off, she hit six Asian markets, plus four-night runs in Melbourne and Sydney, Australia.
During Rodrigo’s stint in Asia, her Oct. 5 performance at Manila’s Philippine Arena grossed $1.2 million and sold 48,800 tickets. It’s the best-selling single show of the entire tour – and her entire career – eclipsed only by four-night engagements in major markets like New York, London and Los Angeles. But out of 62 stops throughout 2024, it’s her third-lowest earner. That’s because she purposely kept tickets cheap, averaging $25.04 USD, which stands as less than a fifth the tour’s average of $128.81. Rodrigo is Filipino-American, and the show was a special stop – she is one of just seven artists to report concerts in Philippines this year – where all net proceeds went to local charity Jhpiego through the Fund 4 Good.
In terms of venue capacity and global reach, the Guts World Tour was a major step up for Rodrigo. While reporting for the Sour Tour was incomplete, its 16 reported shows averaged $415,000 and sold 5,517 tickets per show. Two years later, her nightly attendance is up 173% to 15,084, and her average gross jumped by 369% to $1.9 million. In 2022, she played 33 shows in North America and 16 in Europe. In 2024, those numbers bloated to 48 and 29, respectively, plus the 18 combined shows in Australia and Asia.
Still, there might be more room to grow. Co-manager Zack Morgenroth told Billboard that, per tour promoter Live Nation, demand indicated that Rodrigo could’ve packed stadiums just as well. Even at a low price, Rodrigo moved nearly 50,000 tickets in Manila, giving proof of concept.
The numbers are huge, but the tour’s greater impact extends beyond the accolades. Rodrigo’s Fund 4 Good led the way, in collaboration with HeadCount, the National Network of Abortion Funds and more. And then, there’s the secondhand buzz that helped guide Chappell Roan from the first leg’s opening act to industry noisemaker, eventually returning as a special guest in August, rousing the crowd with a choreographed sing-along of her own “Hot To Go.”
At 21 years old, Rodrigo’s Guts World Tour is the highest-grossing tour for someone of her young age (or younger) in a decade, dating back to when One Direction ruled the year-end Top Tours chart in 2014 with the Where We Are Tour. But that’s not enough – Rodrigo herself laments “When am I gonna stop being great for my age and just start being good” on Guts deep cut “Teenage Dream.” Her 2024 trek is now one of the 10 biggest pop tours of the decade so far, ranking among treks by peers like Harry Styles and icons like Madonna.
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: Tyler, the Creator’s new album already appears to be taking him to a new commercial level, Imogen Heap gets an unexpected video game bump and a dance trend helps a new rap single take off.
Chromakopiamania: Tyler, the Creator’s New Album Off to Huge Start, Results in Whole Catalog Gains
Though Tyler, the Creator essentially split his debut week in half for new album Chromakopia — releasing the album on Monday morning (Oct. 28) at 6:00 ET rather than the usually Friday midnight release — it still looks to be going down as one of the biggest first weeks of his career, and perhaps the very biggest. The tracks from Chromakopia blanketed the top 10 on the daily charts of both Spotify and Apple Music for Monday, with each track drawing streams in the millions — led by album opener “St. Chroma,” which racked up nearly 6.2 million official on-demand U.S. streams in its first day, according to Luminate. (By contrast, Morgan Wallen’s “Love Somebody” — the prior week’s No. 1 Streaming Song — notched just over 2 million streams on Monday.)
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What’s more, anticipation for Chromakopia reached such a fever pitch last week that even Tyler’s older songs were beginning to claim in streams. For the three-day period of Monday to Wednesday last week (Oct. 21-23) — with the rapper announcing the new album, along with the new song “Noid,” on Monday morning — his pre-Chromakopia catalog scored a combined 32.1 million streams, up 29% from the 25 million of the previous three-day period (Oct. 18-20). It seems like 15 years into his acclaimed career, Tyler, the Creator is still just climbing in popularity, with true superstardom maybe in reach as soon as this album cycle. — ANDREW UNTERBERGER
Imogen Heap’s ‘Headlock’ Gets the Gamer Bump, Triples in Streams
Speak for Yourself, the sophomore album by Imogen Heap, became a solo breakthrough upon its 2005 release, earning the idiosyncratic British singer-songwriter a Grammy nod for best new artist following her work as part of the group Frou Frou. And since its release, the album has had a funny way of reappearing in popular culture: “Hide and Seek” has soundtracked several dramatic TV sequences (most notably in The O.C.), Kelly Clarkson covered “Just for Now” for her 2013 holiday album, and Ariana Grande reworked “Goodnight and Go” for 2018’s Sweetener.
Now, the opening track on Speak for Yourself, “Headlock,” is the latest song from the album to be hoisted up years after its release — largely thanks to Mouthwashing, a psychological horror video game that was released last month. Over the past few weeks, TikTok users have been editing clips of the game together and utilizing “Headlock” as a soundtrack, and as a result, the song’s official streams have grown exponentially over the past few weeks.
After the Sept. 26 release of Mouthwashing, “Headlock” earned 555,000 U.S. on-demand streams during the week ending Oct. 10, according to Luminate; that weekly streaming total more than tripled to 1.72 million during the week ending Oct. 24. Heap has never charted on the Hot 100 before, so if the exponential growth of “Headlock” continues, we might see a long-overdue chart achievement; if not, we’ll have to wait for the next Speak for Yourself song to be resurrected (our vote is for “The Walk”!). – JASON LIPSHUTZ
OhThatsMizz Dances His Way to a Breakout Hit With ‘Bumbaaa’
Another week means another dance trend on some corner of TikTok is lifting a song to new streaming heights. According to Luminate, “Bumbaa” — a collaboration between rising rappers OhThatsMizz and SturdyYoungin – has grown 120% in streaming activity over the past two weeks. During the period of Oct. 4-10, the track pulled over 287,000 official on-demand U.S. streams. The following week (Oct. 11-17), that figure jumped by 72% to 495,000 streams earned. Streams for “Bumbaaa” then increased a further 28% during the period of Oct. 18-24, which saw the track pulling just under 635,000 streams.
Mizz first shared a snippet of the track to his official TikTok page on Sept. 9 to the tune of 80,000 likes and 460,000 views. By Sept. 12, user @kastackzzz created a dance – which largely mimes the song’s lyrics before morphing into a TikTok-ified take on New Orleans’ “trip out” move – and his post has since garnered over 100,000 views. While that number may seem relatively small, it was more than enough to help the dance blow up before the track’s official release on Oct. 4. The official “Bumbaa” TikTok sound now boasts over 580,000 posts, with the majority of them featuring users doing the viral dance. Some famous participants include Emmy-winning actress Storm Reid, 41’s leading lady Jenn Carter (who teased her own freestyle over the beat) and Milwaukee breakout rap star J.P.
Mizz has already posted about visiting the Capitol Records and 300 Entertainment offices for meetings, so who knows what the future may hold as “Bumbaa” continues to grow. — KYLE DENIS
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 upcoming Billboard Hot 100 dated Nov. 9, we look at Shaboozey’s chances to reclaim the top spot for a historic 16th week, and the many competitors trying to get in his way.
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Shaboozey, “A Bar Song (Tipsy)” (American Dogwood/EMPIRE/Magnolia Music): Every conversation about the Hot 100 for the past three (nearly four) months has had to lead off with Shaboozey’s “A Bar Song (Tipsy),” the surprise breakout country hit that has now gone on a near-historic run of chart dominance. After 15 nonconsecutive frames atop the chart, the song ceded pole position last week to Morgan Wallen’s “Love Somebody” — good timing for Wallen, since his “Last Night” is the 16-week No. 1 that “A Bar Song” is now one week away from tying as the longest-running Hot 100-topper of the 2020s.
“A Bar Song” remains an extremely strong performer, sliding to No. 3 on both Streaming Songs and Digital Song Sales (due to the debuts of “Love Somebody” and ROSÉ & Bruno Mars’ “APT.” ahead of it on both charts) but remaining No. 1 on Radio Songs for a 13th week. It looks headed for a 14th week atop that chart, and even with its sales and streams continuing to slip this late into its lifespan, they should be strong enough to keep it as the song to beat on the Hot 100 – though this week, a handful of other songs will be in the running to do so.
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Morgan Wallen, “Love Somebody” (Big Loud/Mercury/Republic): Wallen blocked Shaboozey from tying his 2020s Hot 100 record this week, but next week, he may need some help. “Love Somebody” is expected to recede across the board next week, with streams and sales dipping as is typical of a big new song in its second week – and radio likely also falling back some, as the song received heavily concentrated first-day plays as promotion for the new single by country’s biggest current artist. But its streaming and sales numbers remain sturdy, so as the song likely continues to pick up in airplay from here (with Wallen currently one of the most reliable radio artists in all of popular music), it certainly could contend for the top spot again soon, and possibly for many weeks after.
Bruno Mars & Lady Gaga, “Die With a Smile” (Streamline/Interscope/Atlantic/ICLG): Since debuting at No. 3 on the Hot 100 back in August, “Die With a Smile” has been milling rather innocuously around the middle of the top 10. But if you’d counted it out as a No. 1 contender, you may have done so prematurely – it appears that this is the week the two pop superstars are making their move to potentially claim the top spot. Two new versions of the song have been released, an instrumental and a “Live From Las Vegas” version, the latter also unveiled with an accompanying live video. All three versions have also been discounted to 69 cents on iTunes – and as of posting, they occupied the top three spots on iTunes’ real-time chart.
It’s interesting timing, because Bruno Mars and Lady Gaga both have other songs that are chart contenders to some degree this week. Mars’ “APT.” teamup with ROSÉ debuted at No. 8 on the Hot 100 this week, and continues to do very well on both streaming and iTunes, while Gaga has a brand new single with “Disease” — which she also dropped a new video for on Tuesday night (Oct. 29), along with the live “Smile.” Neither song is a likely contender for the top spot however, with Gaga’s latest currently something of a longshot for the top 10 due to modest streaming returns: “Disease” has fallen out of the top 50 on Spotify’s Daily Top Songs USA chart, and out of the top 100 on Apple Music’s real-time listing.
Tyler, the Creator, “St. Chroma” & “Noid” (Columbia): Always the iconoclast, star rapper Tyler, the Creator decided to release his latest album Chromakopia at 6:00 on a Monday morning (Oct. 28). Yet even with just over half of a tracking week to work with, the album is the likely frontrunner for the top spot on next week’s Billboard 200, with excitement over the album resulting in the tracklist dominating the entire top 10 on both Spotify’s Daily Top Songs USA and the Apple Music real-time listing on its debut day — despite being released six hours into the day.
At least two of those songs could have a major Hot 100 impact next week, as well. “St. Chroma,” the album’s Daniel Caesar-featuring lead track – which previously teased by Tyler with a short two weeks ago – has been in the early lead on streaming services, with some mighty first-day numbers. A few spots behind it has been “Noid,” which despite not being the current best-performing song from the album, does have the advantage of having been released the week before (along with its own music video), thus making it the lone song on the album with a full tracking week’s worth of consumption — although its overall daily numbers were much lower before the album’s release.
Had the full album been released on a Friday, we may very well have been talking about one of these songs as Tyler, the Creator’s first Hot 100 No. 1. Instead, he may end up settling for his first Hot 100 top 10 hit – which is obviously of course still very impressive, especially in a week where all the other songs in the race have such a massive head start.
Sakurazaka46’s “I want tomorrow to come” rises to No. 1 on the Billboard Japan Hot 100, dated Oct. 30, selling 559,181 CDs in its first week.
The 10th single by the popular girl group topped physical sales while coming in at No. 12 for downloads, No. 5 for streaming, No. 68 for radio airplay, and No. 71 for video views.
Creepy Nuts’ “Otonoke” slips to No. 2. While down a notch from the top spot, points for the Dandadan opener is on the rise, with streaming up by about 108% from the week before from 8,460,000 to 9,130,000 streams, and video up by 101%.
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Mrs. GREEN APPLE’s “Lilac” continues to hold at No. 3. Points for each metric have decreased slightly as the former No. 1 hit logs its 29th week on the tally, coming in at No.15 for downloads, No. 2 for streaming, and No. 5 for video and karaoke.
M!LK’s “Everybody Good Job!” soars 47-4 to break into the top 5. The title track off the five-man group’s sixth major-label release sold 71,036 copies to hit No. 2 for sales while coming in at No. 56 for streaming.
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Rosé & Bruno Mars’ “APT.” also shoots to No. 5 from No. 96. The track debuted on the Japan Hot 100 at No. 96 after its release on Oct. 18. The earwormy repetition of “apateu” (apartment) made a splash on social media, and streams for the track increased by about 6 times, downloads and videos by about 2.5 times, and radio by 8 times from the week before. It’s the first time a Western song entered the top 5 of the Japan Hot 100 since Coldplay and BTS’s “My Universe” in October 2021. “APT.” is also charting at No. 8 on the Billboard Hot 100.
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 Oct. 21 to 27, here. For more on Japanese music and charts, visit Billboard Japan’s English X account.
21 Savage and Summer Walker’s latest collaboration, “Prove It,” wraps a nearly five-month journey to No. 1 on Billboard’s Rhythmic Airplay chart date Nov. 2. The single, released through Slaughter Gang/Epic Records, advances from No. 2 as it became the most-played song on U.S. monitored rhythmic radio stations in the tracking week of Oct. 18 – 24, according to Luminate.
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“Prove It” jumped 7% in plays in the latest tracking week compared with the prior frame. It ousts Megan Thee Stallion’s “Mamushi,” featuring Yuki Chiba, from the top spot, with the former champ sliding to No. 4 after a 14% reduction in plays.
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In capturing the top spot on its 20th chart week, “Prove It” ties for the second-longest run to the summit on Rhythmic Airplay since the list launched in 1992. The single matches the treks of Kid Cudi’s “Day ‘N’ Nite” (2009) and Miguel’s “Sky Walker,” featuring Travis Scott (2018), while all three trail TLC’s “Waterfalls,” which needed 24 weeks to obtain the No. 1 spot in 1995.
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Thanks to “Prove It,” 21 Savage banks his eighth champ on the Rhythmic Airplay chart and third of 2024. Here’s a review of his chart-topping collection on the radio ranking:
Song Title, Artist (if other than 21 Savage), Weeks at No. 1, Date Reached No. 1
“Rockstar,” Post Malone featuring 21 Savage, six, Nov. 11, 2017
“A Lot,” two, April 20, 2019
“Jimmy Cooks,” Drake featuring 21 Savage, one, Oct. 8, 2022
“Rich Flex,” with Drake, two, Jan. 28, 2023
“Creepin’,” with Metro Boomin & The Weeknd, three, Feb. 11, 2023
“Surround Sound,” JID featuring 21 Savage & Baby Tate, one, March 9, 2024
“Redrum,” two, April 27, 2024
“Prove It,” with Summer Walker, one, Nov. 2, 2024
Walker achieves her first Rhythmic Airplay leader with her seventh visit to the list. Her previous best was also through a team-up with 21 Savage: “Good Good,” also with Usher, reached a No. 2 high in October 2023.
Elsewhere, “Prove It” slips 4-3 from its peak on the plays-based Mainstream R&B/Hip-Hop Airplay following a 4% decline in weekly spins. It holds at No. 5 on the audience-based R&B/Hip-Hop Airplay chart, after having reached No. 4, and sheds 2% in format audience to claim 11.5 million for the tracking week. Weighing the rhythmic gains with R&B/hip-hop losses, the net result is still positive: “Prove It” pushes 29-27 on the all-genre Radio Songs chart with a 1% audience gain to 22 million in weekly listenership.
“Prove It” appears on 21 Savage’s latest studio album, American Dream. The set, released in January, debuted at No. 1 on the Billboard 200, giving the rapper his fourth consecutive chart-topper.