Chart Beat
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Zach Bryan’s “Pink Skies” debuts at No. 1 on Billboard’s Hot Rock & Alternative Songs and Hot Rock Songs charts dated June 8, becoming his third leader on each list. The harmonica-infused single bows with 31.6 million official streams, 166,000 radio airplay audience impressions and 10,000 downloads sold in the United States from its May […]
Alfredo Olivas scores his first No. 1 on Billboard’s Latin Airplay chart thanks to the Alejandro Fernández collab, “Cobijas Ajenas,” as the song climbs from No. 8 to lead the list dated June 8.
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“Cobijas Ajenas” rolls to No. 1 on the overall Latin radio tally thanks to a 49% gain in audience impressions, to 8.73 million, earned in the U.S. during the May 24-30 tracking week, according to Luminate. The hit is from Fernández’ full-length album Te Llevo En La Sangre, released May 24 via Universal Music Latino/UMLE.
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The song ejects Blessd and Feid’s “Si Sabe Ferxxo” from the lead, after the latter’s one week in charge, with a hefty 19% dip in impressions, to 6.9 million.
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“Cobijas” is a cause of celebration for singer-songwriter Olivas, as the radio ramp-up brings him to his first champ on Latin Airplay. Before the new leader, “Yo Todo Soy” gave him his best showing, with a No. 5 high in 2021. The Mexican artist later picked up the No. 7-peaking “No” in April 2022.
Fernández, meanwhile, returns to No. 1 following the one-week ruling of “No Es Que Me Quiera Ir” in August 2023. In total, he adds 11 rulers to his Latin Airplay career account, only two through collabs. As Fernández’s collection of rulers grows, here’s the updated list of his Latin Airplay chart-toppers:
Peak Date, Title, Artist, Weeks at No. 1
Oct. 18, 1997, “Si Tú Supieras,” six
Dec. 27, 1997, “En El Jardín,” featuring Gloria Estefan, six
March 14, 1998, “No Se Olvidar,” eight
July 18, 1998, “Yo Nací Para Amarte,” five
Aug. 21, 1999, “Loco,” one
Dec. 1, 2001, “Tantita Pena,” six
Oct. 23, 2004, “Me Dediqué a Perderte,” two
Feb. 6, 2010, “Se Me Va La Voz,” one
Jan. 4, 2020, “Caballero,” two
Aug. 5, 2023, “No Es Que Me Quiera Ir,” one
June 8, “Cobijas Ajenas,” with Alfredo Olivas
In addition to their Latin Airplay coronation, Fernández and Olivas, each add a new No. 1 to their Regional Mexican Airplay ledger as “Cobijas” lifts 2-1: nine for the former, and a fourth champ for the latter.
Lastly, thanks to its radio haul, “Cobijas Ajenas” concurrently debuts on the multimetric Hot Latin Songs chart, which combines airplay, streaming data and digital downloads, at No. 49.
Sublime is back on Billboard’s Alternative Airplay chart with “Feel Like That,” a collaboration with Stick Figure. The song debuts at No. 35 on the June 8-dated ranking.
“Feel Like That,” which also features credited vocals from late Sublime frontman Bradley Nowell, is the first Alternative Airplay hit credited to Sublime – and not its separate, subsequent iteration Sublime With Rome – since “Doin’ Time,” which hit No. 28 in November 1997.
In between “Doin’ Time” and “Feel Like That,” Sublime With Rome – featuring new vocalist Rome Ramirez – reached the ranking four times in 2011-19, led by the No. 4-peaking “Panic” in 2011.
Sublime With Rome, in addition to Ramirez, initially included previous Sublime members Eric Wilson and Bud Gaugh; Gaugh departed in 2011 and Wilson followed earlier this year. Gaugh and Wilson then reformed Sublime with Nowell’s son Jakob on vocals and guitar. “Feel Like That” features both Jakob and Bradley on vocals, the latter via a recording from early 1996. Bradley Nowell died of an overdose that May.
Sublime reunited late last year and has since performed at Coachella.
The original incarnation of Sublime didn’t reach Alternative Airplay until after Nowell’s death. “What I Got” reigned for three weeks beginning in October 1996, while “Santeria” and “Wrong Way” each hit No. 3 in 1997, ahead of the aforementioned “Doin’ Time.”
As for Stick Figure, “Feel Like That” is the band’s first Alternative Airplay chart entry, as well as the six-piece’s premiere rank on any Billboard airplay survey. The band first graced a Billboard chart in 2009 when Smoke Stack peaked at No. 8 on Reggae Albums, on which Stick Figure now boasts four No. 1s.
Currently a standalone single, “Feel Like That” also bows at No. 43 on the all-rock-format, audience-based Rock & Alternative Airplay chart with 801,000 audience impressions in the week ending May 30, according to Luminate. Its first-week download count of 2,000 sparks a No. 8 debut on Rock Digital Song Sales.
Tommy Richman’s “Million Dollar Baby” spends its fourth week at No. 1 on the TikTok Billboard Top 50 chart dated June 8, becoming one of just four songs to rule the ranking for at least four frames.
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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 May 27-June 2. Activity on TikTok is not included in Billboard charts except for the TikTok Billboard Top 50.
“Million Dollar Baby” joins Alek Olsen’s “Someday I’ll Get It” and Flo Milli’s “Never Lose Me” as songs with four weeks at No. 1 on the TikTok Billboard Top 50. Mitski’s “My Love Mine All Mine,” meanwhile, leads all songs with six frames atop the list.
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Concurrently, “Million Dollar Baby” remains at No. 3 on the multimetric Billboard Hot 100 thanks to 49 million official U.S. streams, 23.9 million radio audience impressions and 8,000 downloads in the week ending May 30.
Lay Bankz’s “Tell Ur Girlfriend,” a three-week No. 1 on the TikTok Billboard Top 50 prior to Richman’s reign, ranks at No. 2, followed by a debut in Sexyy Red and Drake’s “U My Everything” at No. 3.
The premiere gives Sexyy Red her first top three on the chart since “SkeeYee” paced the inaugural survey (Sept. 16, 2023), and it’s Drake’s second-highest charter, following the No. 2 peak of “IDGAF,” featuring Yeat, last October.
“U My Everything,” which was released May 24, mostly benefits from lip-synch and dance content to Sexyy Red’s intro on the song (“I say hoo, baby/ Bae, I love you, you my everything/ I wrote this for you, baby”), with another trend featuring creators asking their former significant others how many likes they’d need on TikTok to get back together.
“U My Everything” debuts at No. 44 on the Hot 100 on the strength of 10.3 million streams, 952,000 radio audience impressions and 2,000 downloads May 24-30.
It’s one of two debuts in the TikTok Billboard Top 50’s top 10, followed by Central Cee and Lil Baby’s “BAND4BAND,” which starts at No. 8. Released May 23, “BAND4BAND” sports an early trend of creators pointing to the differing accents of the British Central Cee and American Lil Baby, often dressing up in different costumes as they lip synch the pair’s “We can go band for band/ F–k that, we can go M for M” exchange on the song.
“BAND4BAND” became Central Cee’s top performance on the Hot 100 yet, debuting at No. 22 on the June 8-dated survey thanks to 15.9 million streams and 1,000 downloads.
One other song hits the TikTok Billboard Top 50’s top 10 for the first time: Stephen Kramer Glickman’s cover of Gnarls Barkley’s “Crazy,” which vaults 41-6. The trend featuring Glickman’s rendition highlights the song’s opening lyrics (“I remember when/ I remember, I remember when I lost my mind”) and shows users stitching in things they did that they now find cringy.
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.
Glee was in the spotlight, and on the cover, of the May 8, 2010-dated Billboard, nearly a year after the Fox series’ cast made its chart debut. Wrote Ann Donahue that issue, “Still in its first season, the program has sucked in young fans with its inventive mix of musical-theater brio, pop-chart savvy and outsider empathy.”
On the Billboard Hot 100 dated June 6, 2009, the troupe’s covers of Journey’s “Don’t Stop Believin’ ” and Amy Winehouse’s “Rehab” entered at Nos. 4 and 98, respectively, the former with a hefty 177,000 downloads sold in the U.S. in the tracking week, according to Luminate. The songs appeared in the first Glee episode, which aired on May 19, 2009.
The Glee cast rocketed to a record 207 Hot 100 entries (through its last, a cover of the Bob Dylan-penned “To Make You Feel My Love” in October 2013), as Fox and Columbia Records unveiled a strategy of releasing multiple songs, with a focus on pop and Broadway favorites, digitally after each new Glee episode. (Notably, with the songs essentially serving as souvenirs, and almost all devoid of radio airplay, 173 of the 207 titles spent a single week on the Hot 100.) Between May 2010 and March 2012, the act logged 15 weeks each with five debuts; four weeks each with six arrivals; and two weeks each with seven.
On the Hot 100 dated Feb. 26, 2011, not even two years into the show’s run, the Glee cast passed Elvis Presley’s longstanding record for the most appearances to that point. Through June 8, 2024-dated list, only Drake (332) and Taylor Swift (263) have made more visits.
Glee
Joe Viles / TM and Copyright © 20th Century Fox Film Corp. All rights reserved, Courtesy: Everett Collection
“I remember I talked to [executive producer] Dante Di Loreto and [co-creator] Ryan Murphy and said, ‘If all works well, we should see records in the top 10 and we should sell albums,’” Geoff Bywater, then-head of the music department at 20th Century Fox Television, said in the 2010 Glee cover story. “‘And, if all that works, we should do a tour.’”
Any such doubts were extinguished over the show’s nearly-six-year run (through March 20, 2015). In addition to its Hot 100 haul (a sum that includes three top 10s, with “Believin’ ” its highest charting hit – it even outperformed the No. 9 peak in 1981 of Journey’s classic original), the Glee ensemble scored 31 Billboard 200 album chart entries, 14 of which hit the top 10, including three No. 1s. Its to-date U.S. album sales stand at 8 million.
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Along with its trademark mix of heart (often in touching scenes between Jane Lynch and Lauren Potter) and humor (almost any line by Lynch), the series was a magnet for revered pop hits, as the Glee cast charted on the Hot 100 with versions of 58 No. 1s, from its update of Rihanna’s “Take a Bow” in September 2009 through Whitney Houston’s “How Will I Know” in May 2012. Also among leaders that the collective returned to the chart were songs by Adele, The Beatles, Fleetwood Mac, Michael Jackson, Lady Gaga, Madonna, Prince, Queen, Britney Spears and Usher.
As Glee’s reach surged, the show welcomed high-profile guests and the cast charted Hot 100 hits with Kristin Chenoweth, Neil Patrick Harris, Ricky Martin, Idina Menzel, Olivia Newton-John and Gwyneth Paltrow.
Matthew Morrison and Gwyneth Paltrow on Glee.
Adam Rose / © Fox / courtesy Everett Collection
To date, the Glee cast’s songs have sold 48.3 million downloads in the U.S. – and drawn 3.8 billion official U.S. streams.
Meanwhile, the Glee cast grossed $45.9 million, according to Billboard Boxscore, over 53 tour dates, all in 2010-11, highlighted by a seven-show run at London’s O2 Arena in which all 103,513 tickets sold out.
The series also received 22 Primetime Emmy Award nominations, winning four. Among series regulars, Lynch was honored for outstanding supporting actress in a comedy series and Murphy won for outstanding directing for a comedy series, while stars Chris Colfer, Dot-Marie Jones, Lea Michele, Matthew Morrison and Mike O’Malley earned nominations.
Apart from Glee billings, Michele hit No. 4 on the Billboard 200 in March 2014 with her LP Louder, a high among cast members on their own, after Morrison had reached No. 24 in May 2011 with his self-titled set.
Fifteen years after its premiere, the show’s fandom endures, in part on platforms that didn’t exist when it originally aired. After reaching No. 93 on the Hot 100 in May 2010, the cast’s “Rose’s Turn,” sung by Colfer, bounded to No. 3 on the TikTok Billboard Top 50 this March.
Fan fervor among “Gleeks” was evident from the start, Bywater recalled in 2010. “We saw it in the in-stores we did in the beginning of the project. We did a Hot Topic tour right after the pilot, and there were 3-, 4-, 500 people. Within a couple of months, we were talking 1,500 people outside the Borders in New York.
“It happened really fast.”
The Contenders is a midweek column that looks at artists aiming for the top of the Billboard charts, and the strategies behind their efforts. Next week (for the upcoming Billboard Hot 100 dated June 15), a return to form a Rock and Roll Hall of Fame rapper looks to interfere with some of the more explicitly 2024 hits vying for the top of the Hot 100.
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Eminem, “Houdini” (Shady/Aftermath/Interscope): In April, Eminem began teasing the upcoming release of his 12th studio album, The Death of Slim Shady. Whether the album title foreshadows Em’s official retirement from music – a full 25 years after first announcing his name to the world in 1999 – or just a new phase in the rapper’s Rock and Roll Hall of Fame career, the album is sure to be one of the summer’s most anticipated. And now, it has an already-minted hit as the official lead single: “Houdini,” released on Friday (May 31).
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The new single, co-produced by Eminem with longtime Detroit-based collaborator Luis Resto, calls back to the MC’s 2002 megahit “Without Me” — with its “guess who’s back, back again” intro and its superhero-themed music video – and heavily interpolates both the instrumental backing and chorus hook from Steve Miller Band’s 1982 Hot 100-topping smash “Abracadabra.” The song also has gained a great deal of attention for its inflammatory lyrics, which see Em back to several of his old tricks – trying to bait critics with bars that at least verge on the homophobic, transphobic and misogynistic, as well as with one couplet making a bad pun about Megan Thee Stallion’s recent shooting at the hands of Tory Lanez.
Despite the controversy – or more likely, partly because of it — “Houdini” has gotten off to an excellent start in consumption. It debuted in the top five on both the daily charts on Spotify and Apple Music and is still hanging around there at mid-week with barely any drop-off, while remaining YouTube’s top-trending music video. Perhaps even more importantly for its chart fortunes, it has held all week at No. 1 on the iTunes sales chart, with Eminem having the advantage of having ruled in the era when digital song sales were still a more central part of the musical economy. He will need some pretty mighty numbers there to have a chance of scoring a No. 1 debut on the Hot 100 — which would make his first chart-topper since “The Monster” in 2013, and sixth overall — but when it comes one of the best-selling artists of the past quarter-century, you never want to proclaim their demise prematurely.
Post Malone feat. Morgan Wallen, “I Had Some Help” (Mercury/Republic/Big Loud): Three weeks after debuting at No. 1 on the Hot 100, the star team-up between Posty and Wallen shows no real signs of slowing down: It’s still holding in the top three on both the regular Spotify and Apple Music charts, and is just a couple spots below “Houdini” on the iTunes chart as well. But radio is where the song is really starting to create some distance from the competition: It has already moved into the top five on Billboard’s Radio Songs chart over four weeks – tying for the fastest rise to the region since Miley Cyrus’ four-quadrant smash “Flowers” last year — while surging on the country, mainstream pop and adult pop radio formats.
Radio is likely to make the difference for “Help” in the race for No. 1 next week, unless Eminem’s latest — which has earned 2 million in all-format radio airplay audience as of June 3, according to Luminate — grows there at a spectacular rate, while selling digital downloads like it’s 2010 all over again. (If “Help” holds at No. 1 for a fourth frame, it’ll be the first song to reign for that many weeks consecutively since Wallen’s own “Last Night” a year ago.)
IN THE MIX
Shaboozey, “A Bar Song (Tipsy)” (American Dogwood/EMPIRE/Magnolia Music): Shaboozey’s solo breakthrough smash has been hanging around the Hot 100’s top five for about a month now – and it might be due for something of a boost next week, with the release of the country singer-songwriter’s full Where I’ve Been, Isn’t Where I’m Going album. The song has also been finding its footing on radio, catapulting from 37 to 22 on Radio Songs in just its second week on the chart (dated June 8), and even finally catching on in Nashville, jumping 31-24 on Country Airplay as well.
Billie Eilish, “Birds of a Feather” (Darkroom/Interscope/ICLG): “Lunch” was tabbed as the focus track from Billie Eilish’s Hit Me Hard and Soft – along with a music video and an early radio push – and it also earned the album’s biggest Hot 100 debut, bowing at No. 5 and holding in the top 10 for a second week this week. But this love song may end up being the album’s biggest breakout hit, as the TikTok-approved “Birds” has passed “Lunch” on both the updating Spotify and Apple Music charts, and even on iTunes as well. “Lunch” will likely continue to have the radio advantage, but “Birds” (up 13-12 this week) may fly past it and into the top 10 on the Hot 100 in the next week or two.
Central Cee & Lil Baby, “BAND4BAND” (CC4L/Columbia): This Atlantic-crossing collab from London’s Central Cee and Atlanta’s Lil Baby debuted just outside the top 20 on the Hot 100 this week, and looks to only be gaining in its second week on streaming. Cee, one of the U.K.’s biggest breakout artists of the decade, has long been bubbling just under the mainstream in the U.S. — and now that he’s got a full-on crossover hit (with a proven American hitmaker as a co-star), there may be no ceiling for his stateside breakthrough.
JO1’s “Love seeker” soars to No. 1 on the Billboard Japan Hot 100, rising from No. 59 on the chart released June 5.
“Love seeker” is the lead track from the 11-member boy band’s eighth single “HITCHHIKER.” The song dropped digitally May 12 and debuted on the Japan Hot 100 at No. 48 (May 22), then dropped to No. 59 the following week before hitting the top spot this week powered by sales. The group marked its biggest first-week CD sales with 738,776 copies to rule the metric, while coming in at No. 3 for downloads (15,613 units, up approximately 2,800% from last week), No. 25 for streaming (up 157%), No. 31 for video views (up 117%), and No. 5 for radio airplay (up 688%).
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Debuting at No. 2 is Number_i’s “BON,” a track off the trio’s mini-album No.O -ring-, released May 27. The song debuts at No. 1 for downloads with 49,896 units and also rules radio and video, while coming in at No. 13 for streaming to hit No. 2 by a narrow margin on the Japan Hot 100 with no points for physical sales. The group’s former No. 1 song “GOAT” moved 64-54 due to the new release, and six of the mini-album’s tracks, including “BON,” entered the Japan Hot 100.
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Incidentally, King & Prince’s former No. 1 hits ”Tsukiyomi” and “Cinderella Girl” — made available for streaming at the end of last month — also return to the Japan Hot 100. Both songs are from the group’s five-member era — Number_i consists of three former members of King & Prince — and saw an increase in weekly streaming and video views. “Tsukiyomi” returns for the first time in about a year and three months, while “Cinderella Girl” returns for the first time in about a year.
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comdot’s “Haikei Oretachihe” bows at No. 3 on the Japan Hot 100. The first single by the five-member YouTubers sold 136,964 copies to hit No. 2 for sales, while coming in at No. 27 for downloads, No. 16 for streaming, No. 6 for radio, and No. 23 for video.
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Kenshi Yonezu’s “Mainichi” (Every Day) launches at No. 6 this week. The release of this new commercial song for Coca-Cola Japan’s “Georgia” brand has powered the hitmaker’s other songs up the charts, with “Sayonara, Mata Itsuka!” seeing an increase in downloads and “Lemon” in both streaming and downloads.
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BEYOOOOONDS’ first single in about a year and a month called “Hai to Diamond” bows at No. 7, selling 99,222 copies to hit No. 3 for sales, while coming in at No. 10 for downloads and No. 16 for radio.
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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 May 27 to June 2, here. For more on Japanese music and charts, visit Billboard Japan’s English Twitter account.
Chilean singer-songwriter Cris MJ adds a second top 10 to his Billboard Hot Latin Songs chart account, as “Si No Es Contigo” debuts at No. 3 – just two steps behind his current leader, the eight-week No. 1 “Gata Only” with FloyyMenor. The former also bows at No. 72 on the overall Billboard Hot 100, the artist’s highest debut of his so far three entries.
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Christopher Andrés Álvarez García, better known as Cris MJ, launched his Hot Latin Songs career just two years ago, through the No. 24-peaking “Una Noche En Medellín” in 2022. A remix of the song with Karol G and Ryan Castro, which charted separately, later took the Chilean to a No. 12 high in August 2023.
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“Si No Es Contigo,” Cris MJ’s latest top 10 debut hit — a rhythmic tune peppered with Middle Eastern sounds — is powered almost entirely by streaming activity, with 7.9 million official U.S. streams earned during the May 24-30 tracking week, according to Luminate.
That sum yields an equal No. 3 start on Latin Streaming Songs, for Cris MJ’s second top 10 in less than two months, following “Gata Only,” for nine weeks in charge starting with the April 13-dated list.
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Expanding on the song’s solid start, “Contigo” also earns indie label Sonar its first top 10 on Hot Latin Songs. The Orchard sub-label, in partnership with Rimas Entertainment, first logged an entry on the multimetric tally through the threeway collab, “Desde Mis Ojos” — with Chris Lebron, Jay Wheeler and Sech — for a No. 43 high in 2022.
As mentioned, Cris MJ lands in the top 10 on the airplay-, streaming-, digital sales-blended Hot Latin Songs chart for a second time after logging his first leader through “Gata Only” with FloyyMenor (chart dated April 20), the second-longest leading song in 2024, after Xavi’s “La Diabla” (14-week ruler starting the Jan. 6-dated list).
Further, the 22-year-old makes his first appearance on the Billboard Artist 100 chart, debuting at No. 91. On a global scale, Cris MJ claims a new entry on both Global charts: No. 76 debut on the Billboard Global 200 with 20.9 million streams worldwide. Meanwhile, outside the U.S. he collects 13.1 million clicks for a No. 122 start on the Global Excl. U.S. ranking.
Josiah Queen’s launch album The Prodigal enters Billboard’s Top Christian Albums chart (dated June 8) at No. 1. Released May 24, the set earned 4,000 equivalent album units in the U.S. through May 30, according to Luminate.
The LP marks the first Top Christian Albums appearance for the 21-year-old Queen, based in Tampa, Fla. He initially accumulated traction by posting videos on TikTok, where he has approximately 100,000 followers.
“It’s been surreal to see the response to The Prodigal,” Queen tells Billboard. “It’s wild to me that these songs which I wrote in my living room and bedroom have made their way to people all over the world. My hope is that the album leads people closer to God.”
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Meanwhile, the set’s title track ranks at No. 7, after hitting No. 4, on the multimetric Hot Christian Songs survey. It drew 2.2 million in airplay audience and 1.8 million official U.S. streams in the tracking week.
Queen co-authored the single with Jared Marc, who also produced it. Queen co-wrote or solo-authored all 11 songs on the new album. He’s on tour and scheduled to make his first appearance at Nashville’s Grand Opry July 2.
Pastor Mike Jr. Extends Record Run
Pastor Mike Jr. adds his record-extending sixth consecutive career-opening No. 1 on Gospel Airplay with “Windows.” The song, which he wrote with Jaicko Lawrence, increased by 9% in plays during the tracking week.
The Birmingham, Ala., native previously topped Gospel Airplay as featured on Kierra Sheard’s “Miracles,” for a week last July and with his own “Impossible,” featuring James Fortune (two weeks, April 2023); “Amazing” (two weeks, May 2022); “I Got It” (four weeks, beginning in March 2021); and “Big Rock City” (10 weeks, beginning in February 2020).
Pastor Mike Jr. also ties Todd Dulaney and Jonathan McReynolds for the longest streak of Gospel Airplay No. 1s overall, regardless of career-launching runs. All three acts’ streaks are active, with Dulaney currently rising 25-24 with his newest entry, “No Weapon.”
RM achieves his first No. 1 on Billboard’s Top Rap Albums chart as Right Place, Wrong Person starts in the summit of the list dated June 8. The project, released May 24, earned 54,000 equivalent album units in the U.S. in the week week ending May 30, according to Luminate.
For Right Place, Wrong Person’s debut-week total, traditional album sales contribute 43,000 units, while streaming activity (SEA) provides 7,500 units, a figure that equals 10.16 million official on-demand streams of the album’s songs. Track-equivalent album (TEA) units comprise the remaining 3,500 balance.
Elsewhere, Right Place, Wrong Person opens at No. 5 on the all-genre Billboard 200, where it becomes RM’s third solo entry on the chart. His Mono. mixtape peaked at No. 26 in 2018, while Indigo reached a No. 3 best in 2022. BTS, of which RM is a member, has collected 15 charting titles on the Billboard 200, including six No. 1s.
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Thanks to Right Place, Wrong Person’s strong individual track sales – the album has the most TEA units of any title on this week’s Top Rap Albums chart – six of the project’s cuts arrive on the Rap Digital Song Sales chart. Here’s a recap:
No. 2 – “Nuts” (4,000 sold)No. 3 – “Right People, Wrong Place” (3,000)No. 4 – “Groin” (3,000)No. 5 – “Domodachi,” with Little Simz (3,000)No. 6 – “Out of Love” (3,000)No. 7 – “? (Interlude),” with DOMi & JD Beck (3,000)
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Activity surrounding Right Place, Wrong Person drives RM 55-4 to a new career high on the Billboard Artist 100, which measures artist activity across key metrics of music consumption – album and track sales, radio airplay and streaming – to provide a weekly multi-dimensional ranking of the most popular artists. As RM rockets into the top five, he outdoes his prior best showing of No. 6 from December 2022, concurrent with Indigo’s peak on the Billboard 200.