Chart Beat
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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.”
Shaboozey’s “A Bar Song (Tipsy),” at No. 1 on the Billboard Hot 100 for a second week, is a groundbreaking crossover hit that blends elements of pop, country, folk and hip-hop.
The widespread appeal of the song – the first ever to reach the top 10 on the combination of Billboard’s Country Airplay, Pop Airplay, Adult Pop Airplay and Rhythmic Airplay charts – stems from its seamless blend of genres and influences, which Shaboozey brings together with an engaging vocal performance. The track’s unique production and radio-friendly composition make it appealing to a diverse audience and help it stand out in the landscape of 2024’s other hits.
Here’s a look at the song’s many sonic characteristics.
Pop Influences
“A Bar Song (Tipsy)” is heavily influenced by pop, evident in its radio-friendly qualities. It features catchy “K.I.S.S. ME” (keep it simple, singable and memorable) melodies and the arrangement includes multiple “A.P.M.” (audience participation moment)-primed sing-along moments. In addition, this genre-bending track seals the deal with modern production qualities, relatable lyrics and infectious hooks, all ingredients highly appealing to a pop audience.
Country Influences
Country influences are also prominent throughout, predominantly showcased in the song’s vocals. Shaboozey’s vocal performance includes a Southern twinge, and the lyrics include references to “two-steppin’ on the table” and “a party downtown near 5th Street.” In addition, the use of acoustic and pedal steel guitars, banjo and fiddle in the song’s main “hook centers” (third chorus and post-choruses) heightens its country appeal.
Folk Influences
“A Bar Song (Tipsy)” also draws on multiple folk sub-genres, including stomp ‘n’ holler and bluegrass. The acoustic instrumentation and background vocal textures evoke the communal, rustic atmosphere of an old-timey bar.
The use of a clap-along backbeat and a stomping four-on-the-floor kick drum pattern in such sections as the second post-chorus, third chorus and outro bring these genre influences up to date by filtering them through the lens of modern pop production.
Hip-Hop Influences
In addition to its pop, country and folk influences, “A Bar Song (Tipsy)” incorporates subtle elements of hip-hop, due, in part, to its interpolation of J-Kwon’s 2004 hit “Tipsy.”
Vocally, Shaboozey’s delivery in the second verse takes on a rap cadence, and this style is also present to a lesser extent in the pre-choruses. Later in the song, the background vocals include the use of ad libs, a hallmark of the hip-hop genre.
Lyrically, alongside its theme of partying and living it up, the song also touches on lifestyle, a theme highly commonplace in hip-hop. It also features hip-hop-influenced lyricism including specific references to luxury items (“My baby want a Birkin”), slang (“Tell my ma, I ain’t forget”) and occasional profanity (“We gon’ do this s–t again”).
Overall, “A Bar Song (Tipsy)” has set a precedent on Billboard’s charts and stands out as a masterful blend of disparate genre influences. The song’s ability to seamlessly integrate these diverse elements makes it one-of-a-kind, and that uniqueness has helped drive it to the top of the Hot 100.
David and Yael Penn co-founded Hit Songs Deconstructed. In October 2023, Hit Songs Deconstructed and fellow song analysis platform MyPart publicly launched ChartCipher, an AI-powered platform analyzing a deeper scope of hit songs, as defined by Billboard’s charts.
Elevation Worship’s “Praise,” featuring Brandon Lake, Chris Brown and Chandler Moore, reaches a 20th week at No. 1 on Billboard’s streaming-, airplay- and sales-based Hot Christian Songs chart (dated July 27).
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“Praise,” which was co-authored by Elevation Worship frontman Brown with Lake and Moore, as well as Pat Barrett, Cody Carnes and Steven Furtick, becomes just the ninth title to have dominated Hot Christian Songs for 20 frames or longer over the survey’s 21-year history.
When the song first hit No. 1 in March, Brown told Billboard, “We’re blown away by what God has done with ‘Praise,’ and we’re thankful for everyone who has streamed, tuned in and shared the song. We hope it is a great reminder of all the reasons to praise God not just for what He’s done, but for who He is.”
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Hot Christian Songs, Most Weeks at No. 1:
132 weeks, “You Say,” Lauren Daigle, beginning in July 2018
61 weeks, “Oceans (Where Feet May Fail),” Hillsong United, beginning in June 2013
37 weeks, “What a Beautiful Name,” Hillsong Worship, beginning in February 2017
28 weeks, weeks, “Gratitude,” Brandon Lake, beginning in February 202
26 weeks, “Something in the Water,” Carrie Underwood, beginning in October 2014
24 weeks, “In Jesus’ Name (God of Possible),” Katy Nichole, beginning in March 2022
23 weeks, “Word of God Speak,” MercyMe, beginning in August 2003
20 weeks (to date), “Praise,” Elevation Worship, Brandon Lake, Chris Brown, Chandler Moore, beginning in July 2024
20 weeks, “Thank God I Do,” Lauren Daigle, beginning in May 2023
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Meanwhile, as Lake is featured on “Praise,” he earns his second Hot Christian Songs ruler of at least 20 weeks, following his solo single “Gratitude.” The only other artist with such a double is Lauren Daigle, via her crossover hits “You Say” and “Thank God I Do.”
“Praise” tops the latest Hot Christian Songs list with 7.4 million audience airplay impressions, 3.4 million official U.S. streams and 1,000 downloads sold July 12-18, according to Luminate.
Karol G wrapped the Mañana Será Bonito Tour on Tuesday night (July 23) to record-breaking results. According to figures reported to Billboard Boxscore, the trek grossed $307.1 million and sold 2.3 million tickets over 62 shows.
The Mañana Será Bonito Tour spanned almost a full year, kicking off Aug. 11, 2023, at Las Vegas’ Allegiant Stadium. Karol G played 15 stadium dates in the U.S., bringing in $138.4 million, landing at No. 1 on last year’s annual Latin recap.
Then, Karol G played 29 shows in Latin America, adding $125.4 million. Finally, she played 18 shows in Europe, topping off with another $43.4 million.
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The Mañana Será Bonito Tour is the highest-grossing Latin tour by a woman in Boxscore history, topping her own $trip Love Tour from 2022. On average, her per-show gross grew from $2.2 million on that trek, to $4.9 million on this trek. Her per-show attendance blossomed from 12,836 tickets to 36,371. And with almost double the workload – 62 shows on three continents, compared to 33 in the U.S. and Canada – her total tour gross multiplied more than four times, from $72.2 million to $307.1 million, with total attendance up 432%, from 424,000 to 2.3 million.
Karol G’s tour followed the release of its namesake album, Mañana Será Bonito. Released on Feb. 24, 2023, it became not only her first top 10 album on the Billboard 200, but her first No. 1. On a macro level, it was the first all-Spanish-language album by a woman to top the chart.
While Spanish-language music has blossomed in North America over the last decade, Karol G’s recent run of shows in Europe is particularly noteworthy. High-grossing tours by pan-generational Latin artists like Aventura, Bad Bunny, Daddy Yankee, Peso Pluma and RBD have stuck to the U.S., Canada and Latin America. Luis Miguel is playing shows in Europe this summer, though he’s exclusively in Spain. Karol G played multiple arena dates in France, Germany, Italy and more, breaking ground for Latin acts abroad.
The Mañana Será Bonito Tour ended on a high note, with four shows at Madrid’s Estadio Santiago Bernabeu. Those dates collectively earned $23.6 million and sold 220,000 tickets. Both figures set venue records, passing previous appearances by Luis Miguel, The Rolling Stones and Bruce Springsteen. It’s the second highest-grossing engagement from the tour, just under the $25.4 million double-header at the Rose Bowl in Pasadena, Calif.
Ultimately, the Mañana Será Bonito Tour is the 30th trek in the Boxscore archives (dating back to the mid-80s) to gross $300 million. Among women, it’s just the seventh, joining a group with stints by Beyoncé, Madonna, P!nk and Taylor Swift.
Grouped by genre, the Mañana Será Bonito Tour is only the second tour by a Latin artist to clear the $300 million threshold, barely missing the 2022 high mark set by Bad Bunny’s World’s Hottest Tour ($314.1 million). Luis Miguel will likely join them with one more update, as his current tour sits at $298.7 million through July 13. Further, Karol G is the first Latin woman to join the $300 million club.
Dating back to reports from January 2018, Karol G has grossed $400.9 million and sold 2.96 million tickets over 128 reported shows, extending her margin as the highest-grossing woman in Latin music.
Karol G attains a new milestone across the Billboard charts as her latest single, “Si Antes Te Hubiera Conocido,” lands at No. 1 on the Hot Latin Songs and Latin Airplay charts, while ruling the Tropical Airplay chart for a second week, on the rankings dated July 29.
The new chart achievements land as Karol G wrapped up her Mañana Será Bonito Tour, with four sold-out shows at the Estadio Santiago Bernabéu in Madrid on July 23.
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On the multimetric Hot Latin Songs chart, “Si Antes Te Hubiera Conocido” ascends 2-1 with streaming and radio gains. In the tracking week of June 12-18, the song collected 12 million official U.S. streams, up 15%, according to Luminate. The sum yields a 47-44 rise on the overall Streaming Songs chart, plus her ninth No. 1 on Latin Streaming Songs with the Greatest Gainer award of the week.
Despite a 1% slip in digital sales, “Si Antes Te Hubiera Conocido” remains at No. 1 on Latin Digital Song Sales, with 1,000 downloads sold during the same tracking frame.
In the radio world, the song reinforces its position as a summer hit, lifting 2-1 on the overall Latin Airplay tally with an 8% gain in audience impressions, to 8.2 million logged in the tracking window. There, Karol collects an 18th champ, placing her closer to her only female contender among acts with the most No. 1s: Shakira, who continues to rule among women, with 23 No. 1 songs since the overall radio ranking launched in 1994.
Diving further into the new champ, the merengue-based track wins a new term atop Tropical Airplay –and its fourth week in the upper region– after the song jumped 3-1 and Karol became the second solo woman to rule Tropical Airplay on her own this decade.
First Artist to Rule Hot Latin Songs, Latin Airplay & Tropical Airplay Since 2014:As if the new No. 1s weren’t enough, as “Si Antes Te Hubiera Conocido” makes a splash across Billboard charts, Karol becomes the first artist to be No. 1 simultaneously on Hot Latin Songs, Latin Airplay and Tropical Airplay charts in over a decade. The last artist to pull the trick was Romeo Santos when “Odio,” featuring Drake, took over the three charts on the May 10, 2014-dated recap.
Notably, just seven months prior, Santos also seized the No. 1 slot across the three surveys with the ubiquitous “Propuesta Indecente,” on the chart dated Oct. 5, 2013.
Preceding Santos, four other artists accomplished the multilateral ruling in 2013 through three songs: Prince Royce with “Darte Un Beso” (Sept. 7, 2013), Marc Anthony through “Vivir Mi Vida” (11 weeks at No. 1, June 1-Aug. 10, 2023-dated lists), and Tito El Bambino and El Patron by “Por Qué Les Mientes,” where Marc is also featured (Jan. 19, 2013).
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Fourth Solo Woman to Lead Hot Latin Songs Since 2010:With “Si Antes Te Hubiera Conocido” hitting No. 1 on Hot Latin Songs, Karol G racks up another chart-topper unaccompanied by another artist – a rarity for a female act. On the airplay-, streaming data- and digital sales-blended list, only three women have ruled the 50-deep tally on her own since 2010.
Here’s a review of the four female solo occupants of the summit since 2010:
Artist, Title, Peak Date, Weeks at No. 1Gloria Estefan, “Hotel Nacional,” Jan. 14, 2012, onePaulina Rubio, “Me Gustas Tanto,” Feb. 11, 2012, oneKali Uchis, “Telepatía,” May 22, 2021, eightKarol G, Provenza,” May 14, 2022, oneKarol G, “Mi Ex Tenía Razón,” Aug. 26, 2023, oneKarol G, “Si Antes Te Hubiera Conocido,” July 27
Beyond its Latin charts’ coronation, “Si Antes Te Hubiera Conocido” makes worldwide improvements, moving from No. 7 to its new No. 5 peak on the Billboard Global Excl. U.S. tally, with 53.8 million non-U.S. weekly streams, up 10%.
On the Billboard Global 200, the song boasts 65 million worldwide streams, but slips 12-13 despite a 10% gain.
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, we take stock of the current Song of the Summer race, which is tighter this year than the past few, thanks to sparring smashes between Post Malone & Morgan Wallen, Shaboozey, Kendrick Lamar and Sabrina Carpenter.
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Post Malone feat. Morgan Wallen, “I Had Some Help” (Mercury/Big Loud/Republic): A couple months ago, it seemed like a pretty safe bet that Post Malone and Morgan Wallen’s “I Had Some Help” would reign all season on Billboard’s Songs of the Summer chart. The song blasted to No. 1 on the Billboard Hot 100 immediately upon its May release – zooming past an unusually stacked array of major hits in the top 10 at the time — with staggeringly big numbers across the board. As radio airplay picked up for it at a blinding pace and its sales and streaming numbers stayed strong, it looked like it might follow the path of Wallen’s 2023 smash, “Last Night,” which both started and ended the season atop the Songs of the Summer chart, while reigning for four total months on the Hot 100.
And in truth, it still very well might. “I Had Some Help” has ruled the Songs of the Summer chart for all eight weeks of the list’s 2024 existence thus far, and has topped the Hot 100 for six frames, as well. Its numbers remain strong in all areas: On this week’s charts (dated July 27), it remains in the top five on Radio Songs (No. 1, its fourth week atop the chart) Streaming Songs (No. 3) and Digital Song Sales (No. 4). It’s still gaining on the airwaves, and should get an extra late-summer boost when Posty releases his long-anticipated full country album, F-1 Trillion (due Aug. 16).
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But “I Had Some Help” has had some competition. After towering over the rest of the Hot 100 for its first five weeks of release, “Help” briefly ceded the crown to Sabrina Carpenter’s “Please Please Please.” Then after recapturing it the next week, “Help” again let the title slip the following frame — and in the two weeks since, it’s yet to reclaim it, as Shaboozey and Kendrick Lamar have taken turns trading off the top spot.
Which is hardly to say that “Help” has fallen off dramatically or unexpectedly: It’s naturally experiencing a slow decrease in streams and sales, but it’s also still No. 2 on this week’s Hot 100, and very much still a threat to jump back up to No. 1 any time the competition sags for a week or two. However, its chances of matching or even nearing the 16 weeks (!!) “Last Night” spent atop the Hot 100 last year are growing slim — and while it remains the clear Song of the Summer frontrunner, it also remains vulnerable in the race if any of the songs beneath it experience another power surge.
Shaboozey, “A Bar Song (Tipsy)” (American Dogwood/EMPIRE/Magnolia Music): Though it initially seemed like it would be scrapping with Tommy Richman’s “Million Dollar Baby” on the undercard for this summer’s title fight, Shaboozey‘s “A Bar Song (Tipsy)” has elbowed its way into the main event. With consistently impressive streaming numbers and downright stunning sales since its April release, radio was the final piece of the puzzle for “A Bar Song” — and it has delivered on that front, attracting airplay from a historic array of radio formats, and climbing all the way to No. 2 on Radio Songs so far, behind “Help.” Like that song, “Bar Song” ranks in the top five on each of the Hot 100’s three component charts this week — and actually tops “Help” with its No. 2 placement on both Streaming Songs and Digital Song Sales.
More crucially, “Bar Song” also tops “Help” on the Hot 100 this week — its second frame atop the chart. That’s still four behind Post and Morgan, of course, so “Bar Song” has plenty of catching up to do if it wants to really challenge “Help.” But it helps that “Bar Song” has also been in the fight since the very beginning of this SotS season — debuting at No. 4 on Songs of the Summer and working its way up to No. 2 by the end of June — so if it continues growing on radio as it has so far and “Help” starts to recede a little, or if it gets a momentum-boosting remix or new video, there’s certainly a chance that “Bar Song” could steal this race yet.
Kendrick Lamar, “Not Like Us” (pgLang/Interscope/ICLG): Pre-”I Had Some Help,” it looked like “Not Like Us” was going to be the song to beat this summer. It debuted atop the (already very crowded) Hot 100 with an incomplete first week of tracking, thanks to otherworldly levels of excitement around it as the knockout punch in the increasingly fevered back-and-forth between Kendrick Lamar and rival-to-the-north Drake. “I Had Some Help” quite impressively managed to lap it the very next week, and as interest in the beef died down (and radio understandably was slower to pick up the virulent missive than the cartoonishly crossover-friendly “Help”), it seemed like “Not Like Us” would bow out of the Song of the Summer race before it even really began.
But as the hip-hop and pop worlds should’ve learned from his bout with Drake in the first place, you can never count out Kung Fu Kenny. Lamar’s new signature smash was doubly adrenalized by his much-publicized, nationally-streamed Juneteenth concert spectacular The Pop Out, and then by the song’s official music video, which dropped on July 4. Following the boost from the latter, “Not Like Us” even reclaimed the Hot 100’s top spot for the first time in two months. It’s back down to No. 3 on this week’s listing, and may have finally run out of extra lives, but we’re twice bitten, three times shy there — especially since it’s up 6% in airplay this week, according to Luminate, and at No. 9 on Radio Songs, and we still haven’t gotten any kind of official remix for the song.
Sabrina Carpenter, “Espresso” & “Please Please Please” (Island/Republic): If you could somehow merge the popularity and momentum from Sabrina Carpenter’s two summer singles so far, you’d undoubtedly have yourself the song of the season: “Espresso” and “Please Please Please” both reached the Hot 100’s top five (the latter marking her first leader), and have been fixtures of the Songs of the Summer’s top 10, with Carpenter the only artist with multiple entries in the 20-position seasonal chart’s top half this week. With Carpenter’s new album due the week after Post Malone’s in August, her two four-quadrant smashes will undoubtedly receive a sizeable bump. But if she wants to challenge for the SotS No. 1 spot with either song, she won’t be able to wait around for that — neither is higher than No. 5 on the chart this week, and Billboard’s summer season officially ends following the chart dated Sept. 7.
Elevation Worship scores its eighth No. 1 on Billboard’s Top Christian Albums chart as its latest LP, When Wind Meets Fire, ignites atop the tally dated July 27. Released July 12, the set earned 8,000 equivalent album units in the United States through July 18, according to Luminate. It was recorded live over two nights, […]